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A PLAY IN FOUR ACTS 
BY 

EDWARD SHELDON 



TOWER BROS., STATIONERY CO. 
23 WEST 23d ST.. NEW YORK 


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Copyright, 1910 
by 

Edward Sheldons 

Cas a work not reproduced in copies for sale) 
Reproduced in copies for sale December, 1912, 
and copies deposited in copyright office 
December 1912. 


HSHSEHS 


nES5HSH5HSH5HSHSH5H5a5HSH5H5HSHSH5^5H5H5HaSin 





Qlharartrra 


GORDON LINDSEY. 
NICHOLAS VAN KLEET. 
HARRY STREET, 

CLIP WIGGINS, 


His Ushers. 


GILES, Butler at “The Bungalow.” 

THE SHERIEE. 

MRS. STURGES. 

MARY BELLAMY, 'x 

ANITA STURGES, (• Aliss Lindsey’s Bridesmaids. 

ROSIE GREEN, 3 
LOUISE, her Maid. 

A HOUSEMAID at “The Crossways.” 


GYPSIES. 

OLD EARO BLACK. 

YOUNG EARO, his son. 

LITTLE FARO. 

TAWNY CHAL. 

PERCIVAL SMITH. 

LUCRETIA SMITH, his wife. 

CASPAR, 

SOPHIA. 

OLD MRS. KOMELLO. 

EGYPT KOMELLO, her Great-granddaughter. 


I Their children. 


Gypsy men and women. 


£.EL5H5 



2 


EGYPT 


% 


THE FIRST ACT. 

Red Pine Gap. The twilight of a night in spring. 

THE SECOND ACT. 

{four years later.) 

“The Pungalow.” Miss Lindsey’s wedding day. 

THE THIRD ACT. 

{That night.) 

Mrs. Van Fleet’s bedroom at “The Crossways.” 

THE FOURTH ACT. : 

{Six years later.) 

The open road. 

PLACE—Near Aiken, Georgia, and, for the last act, somewhere 
in Xew York State. 


TIME—Now. 



EGYPT 


3 


Act 1 


SCENE. 

Red Pine Gap—a natural hollow in a forest of Norway Pines. 
To hack is a steep rocky declivity, covered with matted pine-needles, 
the rocks breaking through. Above this can be seen the trunks of 
great trees,—stretching far up before the branches begin—and 
through them, far away, the red glow of a fiery sunset. To right 
and left—in the hollow are also huge, straight trunks—one especially 
large one at left-front. In the shadow of the rocks at back is a 
great camptire—at present a glowing mass of coals. Hanging over 
it, by means of a bar resting on two rudely-formed supports, are 
several steaming kettles. Other dishes of battered tin are being 
cooked on stones, around the edges of the fire. Supper is being 
made ready. At left—half oft and half on the stage—are two 
gypsy wagons, canvas-topiied and showing the traces of brightly 
painted decorations. The horses have been unharnessed. At ex¬ 
treme right is an old, soiled tent; also the entrances to two others. 
Before the tents and beneath the big tree are stretched red blankets, 
buffalo robes, etc. Various garments are hanging over boxes, a 
heavily laden clothes-line is drawn between two pine trees, etc. 
Other indications of the roving, out-door life. During the act the 
ruddy twilight glow deepens and fades away into night. Stars and 
a sickle moon appear through the tree-trunks at back. The gypsies 
light i)ine torches and nail them to the trunks of the trees; occa¬ 
sionally they throw wood on the fire and it bursts into flames. 


AT RISE. 

The stage is occupied by quite a number of GYPSIES,—men, 
women and children. TWO MEN are bending over a tinker’s 
wheel—left front—sharpening knives, a third sits near them on the 
ground mending a tin saucepan with a small plumber’s blow-pipe. 
To right-front before the tents, are several very ragged and un¬ 
kempt children playing a sort of hop-scotch game, calling and 
wrangling among themselves. To right centre is a group of three 
men. sitting on the ground and playing poker, as they smoke their 
black pipes. About the fire are the women and young girls, stirring 
the stews, cutting bread, cooking—generally busy with the evening 
meal. One woman sits quietly leaning against a rock at back, 
nursing her baby. Under the huge pine tree—left centre—sits 
huddled old MRS. KOMELLO quite to herself. On the step one 
of the wagons, there rests an old man playing a concertina—a 
young man stands by him, leaning against the side of the wagon as 
he fiddles. Together they are wandering through some ancient 
Romany melody. Before them, listening to the music, are two 




4 


EGYPT 


young girls, sitting on the ground, weaving baskets. All the gypsies 
are dressed in semi-barl)aric costumes, corduroys, red and yellow 
scarfs, flannel shirts, slouch hats for the men; brilliant colors 
for the women. They all wear large hoop-earrings of gold and 
silver and brass, many have rings, chains, etc. They have swarthy 
skins, magniflcent eyes and teetli, superb freedom and ease of 
movement and carriage. 

For several moments after the act begins there is a purely 
atmospheric feeling obtained hv some slight expression from each 
separate group. It is to be played quickly, yet distinctly—with an 
orchestra-like effect. 

THE FIDDLER— {Pinislung his song'.) 

“And so till then, wherever I am, 

I’ll love my Romany chi!” 

STELLA— (Singing to herself) —“Ell love my Romany chi!” 
—An old liar wrote that song! Here, give me another bundle— 
mine’s too dry. 

1st TINKER— (To his companion) —Pour on more water. This 
knife is dull as your head. 

2nd TINKER— (Obeying him) —My old woman used it to cut 
wood. I told her if she did—Td- 

1st TINKER— (Scornfully) —You! Your’e afraid to teach her 
with a whip! That's how they learn, brother! 

CASPER— (One of the children) —Stop it! You’re jumping 
on my feet! 

ALICE—It’s Sophy’s turn! Go on, Sophy! 

vSOPHIA — (Iti a monotonous sing-song, as she hops about.) 
Can you jas te stariben. 

Can you lei a kosht. 

Can you besh undr’ a bor. 

Can you hel the bosh? 

Said the Romany chi 
To the Romany rye— 

Said the- 

CASPER—(Interrupting)—Oh—o\\\ You cheat! You stepped 
outside! 

LUCRETIA SIMITH— (A stout, handsome gvpsv matron, call¬ 
ing to them from the fire)—Be still, you dirtv brats! If you want 
a bite to eat!— (To another zvoman) —Set on the kettle for the 
tea. Lord love us—it’s almost eight o’clock. 

MRS. KEERGOR—Old Earn and his son are still awa\'. Can 
we eat without the chief? 

TAWNY CHAL— (One of the poker-playe's. zvith a laugh) — 
Three kings! This is mv luckv dav ! (He rakPs in his zvinnings.) 

PERCIVAL SMITH— (Admiringly yet maliciously) —You 

have a liar’s face, God has been good to vou. Tawny dial.' 

TAWNY CHAL— (ShuHing and dealing again) —I wear a 
charm the black witch-doctor sold me. 

JOE KEERGOR—Wh'at is it, brother? 




EGYPT 5 


TA\VX\ CHAL— (Cii'iiining)—! may not tell. So— play. 
{They look at their hands and fail into silence.) 

STELLA— {Who is basket-making, as the fiddler pauses) — 
Your new fiddle is much sweeter than the old one! 

THE hIDDLER—It's not so bad—that’s true. But I bought 
it with my gray mare, and she was worth a hundred dollars. 

AXNIE—Lord! You can steal another worth two hundred. 

LUCRETIA—( Tasting) —The stew is done. {To the other 
ivonian, zvho is looking at Mrs. Koniello curiously.) What are you 
gaping at? 

MRS. KEEGOR— {Turning) —Old Mrs. Komello. 1 think she 
is talking to devils. 

LUCRETIA—She is a devil—she and her great-grandchild, too. 

MRS. KEERGOR—Egypt? But she pens dukkerin so well. 
She’ll swear to some young gorgio man that twenty girls are sick 
of love for him, and then he’ll grin and give her as much as two 
dollars. I know, for I’ve seen them do it. 

LUCRETIA— (Who has crossed, during this last, to ivhere 
Mrs. Komello is sitti)ig under the great pine tree) —Mrs. Komello! 
{A pause.) Mrs. Komello, where is your serpent descendant? 
{Pause.) I said where is Egypt? She has been gone three hours. 
(Maliciously.) I think she has run off with a gorgio—stable-boy! 

MRS. KOMELLO— {Suddenly, without looking around) —Fat 
bag of lies—go back to your frying and stewing. It’s all you’re 
good for. {She is the oldest zooman in the tribe — an ancient crone — 
bent double and zvalking with the help of a stick. Her white hair 
hangs in zoisps about her skinny, yellozo face. She is smoking a 
short clay pipe—and mumbles to herself a good deal. Every nozv 
and then she stops to whittle off some shavings from a plug of 
tobacco and stuff them in her pipe.) 

LUCRETIA—Lord! You shoot hre like the Devil’s cat! 
What’s the matter with you to-day, Mrs. Komello? 

MRS. KOMELLO— {In her cracked, old voice) —This is a bad 
place. I can smell Death here, hiding behind the tree-trunks ready 
to fly out like a big soft bat when the woods are dark. 

LUCRETIA—But we came here years ago—and nothing hap¬ 
pened. 

MRS. KOMELLO—You have the brain of a cow and cannot 
understand. There is a rich gorgio who lives beyond the cross¬ 
roads to the south. He was a young man when a Romany chi 
found him on the road where his horse had thrown him- 

LUCRETIA— (Bored) —Lord! That story’s old as my old 
si low. 

MRS. KOMELLO— {Looking far azvay) —She was my daugh¬ 
ter’s daughter. 

LUCRETIA— (Yawning) —Yes, and she put him in the back 
of an old wagon, and watched him by the light of sun and moon, 
and fed him a secret drink of roots and herbs and blood of goats 
you taught her how to make, Mrs. Komello- 





6 


EGYPT 


MRS. KOMELLO— (Softly )—I learn’t it over the seas—a 
hundred years ago- 

LUCRETIA—And so she won his life, and with his life she 
won his gorgio heart. 

TELKA —(Nudging her neighbor )—How much did he pay for 
her, Mrs. Komello, when he took her to his own great house? 

MRS. KOMELLO—He paid fifty dollars—with the same money 
he could have bought six of you! 

LUCRETIA— (Carelessly )—And he made her his rawnie, mar¬ 
ried her by gorgio law ! But, when her child was born, she took 
it and came back to us. And then she died. Go, give the pot a good 
stir, little calf, before it burns. (One of the younger girls obeys 
her.) 

MARIE— (Curiously )—And the gorgio’s child? (To Mrs. 
Komello )—What happened to the child, Mrs. Komello? 

MRS. KOMELLO— (Mumbling) —Dead—both dead—and bur¬ 
ied in one grave. 

TAWNY CHAL —(Calling over) —Where’s our supper? Tm 
hungry as a cow! 

1st TINKER— (Calling )—The chief and his son have not 
come back. 

2nd TINKER —(To him )—Where have they gone, brother? 

1st TINKER—Where should they go—if not to the town, to 
get drunk. (Meanwhile the girls are teasing Mrs. Komello, poking 
her, etc. She lunges out at them with her stick, they run back 
zinth bursts of laughter.) 

CASPER—Pull her beard—old toad! Look out —or she’ll 
give you warts! 

SOPHIE—Copperhead! Copperhead! 

MRS. KOMELLO— (Furiously )—If my Eg 3 ^pt were only here 
you- 

CASPER —(In scorn) —Egypt—She’s not so strong- 

TELKA—Nor so beautiful, either. Her hair is coarse as a 
mare’s. 

MARIE—And it’s straight, with a curl at the end—like the 
hair of a witch ! 

TELKA—She has a mole on her left breast, too. 

MARIE— (Mysteriously) —S-sh ! That’s where the Devil 

kissed her! 

LUCRETIA—Supper’s read^'. 

PERCIVAL SMITH—— God be thanked! (He 
stretches himself.) 

TAWNY CHAL —(Counting his money) —Two—three-fifty— 
four six—and six-seventy-five. I knew that charm would work. 

SI ELLA —(Calling to the fiddler) —Come! Come while it’s 

hot. 

THE FIDDLER—Wait till I put away my fiddle. There-! 

(They all gather, talking and laughing, near the fire. The women 
serve the stew, cups of tea, etc. The children wait upon the others.) 



EGYPT 


7 


LUCRETIA—Bring back that plate. 

TAVVNV' CHAL—Give me two lumps of the meat. Remem¬ 
ber—i stole the sheep. 

ANNIE —{To the fiddler )—I picked the best for you. 

LUCRETIA —{To Sophia, who has broken a cup )—You clumsy 
imp! lake that—and that— and that. {Boxes her ears violently) — 
One of my best cups! 1 bought it at a fair in Arkansas, the year 

i was married. {She carefully puts away the pieces. Looking up 
and seeing EGYPT )—So there you are, Egypt—you’re late! {The 
girl has appeared a few moments before this above the rest, at the 
top of the rocks during all this chatter, she has climbed down easily 
and quickly. She is a splendid savage young thing, swarthy and 
beautiful, in picturesque dress of gypsies — earrings, orange scarf 
oz^er her black hair, red shawl, etc.) 

EGYPT —{Peering here and there as she descends )—Earo 
Black—where is he? 

LUCRETIA— {Maliciously )—Off to the town with a gorgio 

girl. 

EGYPT—You lie. Give me some stew—I’ll keep it for him. 
{She covers one plate with another and sets it near the coals.) 

TAWNY CHAL—(Ea^^r/y)—Egypt! Come sit by me. 

EGYPT—I am not hungry to-night, Tawny Chal. 

TAWNY CHAL—But I stole the sheep for you alone. Look 
there! {He shows her a piece of meat on the end of a fork.) 

LUCRETIA—What luck in gorgio houses, Egypt? 

EGYPT —{Jangling the money tied tip in her handkerchief) 
—God knows—I’ve kept no count! {She throws the handkerchief 
to Lucretia. They all reach for it.) 

LUCRETIA— {Shrilly )—She gave it to me! Egypt make 
them- 

TAWNY CHAL—Untie it—quick ! 

PERCIVAL SMITH— {Counting) —Three—four—six—nine— 

TAWNY CHAL— {Admiringly )—In five hours !—{Meanwhile 
Egypt, leaving them to their wrangling, has crossed swiftly to 
zi'here Mrs. Komello is still sitting against the great pine tree.) 

EGYPT —{In a low, quick voice) —Gran-bebee where is he? 

MRS. KOMELLO—Who, my little swallow? 

EGYPT—Mino pirino—my Faro—my lover! 

MRS. KOMELLO—Do I know what road a young chal fol¬ 
lows ? 

EGYPT—They said he was off to the town with a gorgio girl! 
I saw one to-day—with hair like autumn leaves —{With a sob) — 
Oh, gran-bebee ! He loves beautiful women ! 

MRS. KOMELLO—All men do that. 

EGYPT—Gran-bebee, why will old Faro never let us marry? 
Why does he say ‘Next month—next year—next week. It is too 
soon. You are too young. I am too busy!’ Why does he torment 
me—why— why? 



8 


EGYPT 


MRS. KOMELLO—My small wild swallow—1 do not know. 
He is chief and he makes the law. So get me some stew or I shall 
die. Those snakes have given me nothing to eat since you went 
away! 

EGYPT— (Calling) —Sophia! Supper! (To Mrs. Komello, as 
she sits at her feet.) —Gran-bebee ! 

MRS. KOMELLO—Yes, little daughter? 

EGYPT—I must know he is all mine—every little piece of 
him—until we both are dead! (Meanwhile Sophia brings a plate 
of stezie and a cup of tea, then runs off again.) 

MRS. KOMELLO—Then listen to a charm I used once—long 
ago when 1 was young—a charm that held him, body and soul, 
until- 

EGYPT—Until what? 

MRS. KOMELLO—Until I killed hini, dearie. (Egypt shudders 
a)id is silent) —Cut the heart out of a milk-white pigeon and throw 
it beating on the coals. 

EGYPT— (Impatiently) —Yes—yes. And what? 

MRS. KOMELLO—And as it burns, you say these magic 
words. Here—turn me your ear. I cannot speak these secret 
things aloud. (She whispers in the girVs ear.) 

EGYPT— (When she has finished) —I passed a pigeon-fair to¬ 
day. (Suddenly with a cry) —Ah! 

MRS. KOMELLO—What now, little sweetheart? 

EGYPT— (Panting) —And if to-night he’s sleeping in a gor- 
gio’s bed—Gran-bebee! Tell me how you killed your lover! (There 
is a slight pause.) 

MRS. KOMELLO— (At last) —At midnight when there are 
wicked things let loose, I ran a needle through my little finger 

and then I squeezed three drops of blood upon the fire and said- 

(Pause.) 

EGYPT— (Quivering) —Go on—go on—I shan’t forget! 

MRS. KOMELLO— “As I prick my finger, I curse a nameless 
man. As the first drop falls his feet groiv very tired! As the sec¬ 
ond drop follows, his blood runs very slozv! When a third has 
gone, his heart will beat no more. Kill, blood! — die, man! Take 
him. Devil, for the charm is done.’* 

EGYPT— (Hardly breathing) —And then? 

MRS. KOMELLO—Dearie, that’s all. In the morning he was 
dead. 

EGYPT— (Trying to dispel her doubts) —But he may come, 
gran-bebee! Faro may come yet! Why, they have stopped him on 
the road—his horse has lost a shoe- 

MRS. KOMELLO—Eat, my child—eat while you wait. Men 
have always lied to women. And this stew is very good. 

EGYPT—I—can’t.— (She looks up) —Gran-bebee! LOOK in 
your tea-cup. See what the leaves will say to-night! 

MRS. KOMELLO—A candle, little daughter. My eyes are 
growing old. (Egypt runs over to the tent, comes out zmth candle, 



EGYPT 


9 


which she lights at the fire, and returns holding it near Mrs. Ko- 
mello. The latter is looking into her cup muttering to herself.) 

{Meanwhile.) 

LUCRETIA—Eight o’clock! May the Devil guide old Faro 
home—for he is surely full of brandy now! 

TAWNY CHAL —{Smoking his pipe by the fire )—What road 
do we take to-morrow? 

PERCIVAL SMITH—North. There is a fair at Rollings- 
ville. The chief buys two more horses. 

LUCRETIA —{To her husband )—And you a pair of fine gold 
earrings—understand ? 

PERCIVAL— {Gloomiily)—Againf Oh, Lord! What is the 
woman made of? 

EGYPT —{Who is crouching by Mrs. Komello's side peering 
into the cup )—I can’t see—is it a cross? 

MRS. KOMELLO—Lift up the candle! {Egypt does jo.)—A 
star, as plain as day. That’s sudden news! 

EGYPT— {Eagerly )—Pour in more tea —{She does so.) 

MRS. KOMELLO— {Drinking )—Saints in glory, the tea’s as 
strong as lye! 

EGYPT—Now look! 

MRS. KOMELLO —{Peering into the cup )—A broken sword! 

EGYPT—That means black suffering. 

MRS. KOMELLO—So it does, my sweetheart. 

EGYPT— {Suddenly )—And now the last time—quick—you 
must drink it, gran-bebee, or else the charm is gone. 

MRS. KOMELLO— {Drinking) —Ugh! GOD help us all, the 
tea’s as bitter as sin ! 

EGYPT —{Looking into the cup )—Is it—oh, gran-bebee, is it 
a bed? 

MRS. KOMEIMO—{Peering at it also)—Perhaps - 

EGYPT— {Rapturously) —That’s love! That’s love! 

MRS. KOMELLO—Yes, I see coffin nails! 

EG Y PT— ( Terrified) —No—no- 

MRS. KOMELLO— {Moving- about the cup )—And handles— 
and the shadow of a shroud- 

EGYPT—Not death—not that, O God, not that. 

MRS. KOMELLO—I’m not sure—wait—hold up the candle, 
little bird —{Egypt does so, but Mrs. Komello drops the cup and 
it breaks.) 

EGYPT—{With a little cry)—A—ah ! 

MRS. KOMELLO—The Devil greased my fingers !—{Lifting 
up the pieces) —No, they are gone. Now we shall never know. 

EGYPT—Love—or dea\.h—{Whispering and clinging to the old 
woman) —Oh, I’m afraid—gran-bebee. I’m afraid !—(TZ/c old 
woman puts her arms about her. They stay thus, motionless, for 

a little while.) 

TAWNY CHAL—(7Y the Tinker)-Brother, a little game? 



10 


EGYPT 


1st TINKER— (Assenting )—Five hands—no more —(They sit 
dozmi L. C. to play poker.) 

LUCRETIA —(To the young girls )—Bring over the blankets. 
We shall have frost to-night.— (Looking up )—The stars are blaz¬ 
ing! (Maria and Telka, laughing among themselves, get the 
blankets and bedding from the wagons and carry them over to the 
tents. It is now quite dark. Percival lights two lanterns.) 

CASPER —(Running over to where Egypt is crouching, the 
other children after him )—Time for the story, now! 

SOPHIA— (Anxiously )—Are you crying? 

EGYPT— (Rising) —1? No—why should I cry ?—(She crosses 
over to the fire, then speaks to the zvoman with the small child) — 
(To the children, as she sits in the firelight, the baby in her arms) — 
Well, what story shall it be to-night? 

SOPHIA—The Devil-Snake! 

CASPER—No, the Black Cock! 

SOPHIA— (Shrilly) —No, the Devil-Snake! 

OTHER CHILDREN—(A// together )—Black Cock!” 
“Egypt” “Please—!” “Don’t mind her!” Shut your mouth,” etc., 
etc. 

EGYPT —(Her finger to her lips mysteriously) —Hark—the 
fairy music —(The children listen for a moment, impressed. The 
old man who played the concertina is leaning against a tree in the 
background, a guitar hung around his neck. He has begun striking 
low, strange chords and harmonies.) 

CASPER— (Disappointed) —It’s only Old Lancelot, playing in 
the dark. 

SOPHIA—The story Egypt — please!—(Occasional fire-flies 
glhnmer here and there.) 

EGYPT—Then here it is, the story, T learned from my gran- 
bebe over there, and she learned it from hers who heard it told 
when she was young, across the sea, by a story-teller from the 
South—once upon a time there was a Romany chi who lived far. 
far, away at the ends of the earth, and loved a Romany Chal- 

SOPHIA—Was the Romany chi very beautiful? 

EGYPT—Her lover told her so. 

CASPER—And was the chal very big and strong? 

EGYPT—Yes. he was straight as a pine tree and strong as 
a black bear and quicker than a mountain cat. He could tame 
the maddest horse without bit or bridle, he could fool the wisest 
man that ever wore spectacles, he could shoot one look of his yel¬ 
low eyes—and the women would smile and throw their souls at 
his feet! 

LUCRETIA —(Coming out of one of the tents) —Sophia! 
Casper ! Come to bed. 

SOPHIA —(Calling back) —I’m coming —(To Egypt )—I love 
the story! 

EGYPT—Good night !—(Meanwhile young FARO BLACK, the 
son of the chief, has slowly appeared — L., and now stands watching 



EGYPT 


11 


her sombrely as she croons and hums the baby in her arms. He is 
a tall straight handsome young gypsy, with a dark, strong face and 
the smooth walk of a tiger. He wears corduroy trousers, a red 
scarf about his neck, a slouch hat with a cock’s feather, and he 
carries a whip, the buttons on his jacket are silver dollars—his arms 
are tatooed.) — {She gradually becomes conscious of his presence, 
looking up, sees him and stops.) 

EGYPT—Faro!— (Rising) —Then it zuas your call I heard!— 
(She comes eagerly up to him, but he has sullenly refused to an¬ 
swer and has passed her by. She looks after him piteously, then 
runs over to the tent and a moment later appears without the child. 
He goes to the fire, lights his pipe with a coal, and turns to the 
poker-players.) 

MARIA —(To the other )—There is young Faro! Quick, where 
are my rattlers?— (They hurry about.) 

FARO— (With a grunt) —Who wins, brothers?— (He puts his 
hands on their shoulders.) 

TAWNY CHAL—(Aof looking «/,)—Me. 

THE TINKER—Where is the chief? 

FARO—At the tavern, brother. 

TAWNY CHAL—You were not with him? 

FARO—No, brother, not I.— (Meanzvhile the women have come 
out of the tent, and the tzvo girls are dancing by the fire, to the 
music of the fiddle and the concertina.) 

PERCIVAL SMITH —(Looking at them )—A-ha ! That’s right! 
Faster now ! 

LUCRETIA— (To another woman, her sewing in her hand) — 
They cannot dance as we used to do—eh? 

FARO —(Looking at them) —Good! Again- (He claps his 

hands.) 

EGYPT —(To Mrs. Komello, in a spasm of jealous rage )— 
I’ll prick my finger in the fire to-night—to-morrow he’ll be dead! 

FARO— (To the fiddler) —Play faster—ah! That’s right! 

Good girls! 

EGYPT —(Coming out of the tent, springing into the ring and 
snatching away the castanets from one of the girls) —Is there room 
for me? No? Then make room, you cows—oh. Tawny Chal! 

TAWNY CHAL—(Fofir^Hy)—Egypt! 

EGYPT— (Voluptuously) —Come dancf* with me! I’m waiting. 
TAWNY CUAL—(Rapturously)—UWt sweetheart !—(T/?o’ 
dance together.) 

EGYPT— (Breathlessly to the fiddler) —Faster—is this a 

funeral? Faster - !—(The dance grows zvilder. The other girls 

have stopped, enraged at her intrusion.) 

•TELLSOR— (With sudden enthusiasm) —Good leap, Tawny 
Chal, good leap! 

THE TINKER—Lord! How she twists! 

LUCRETIA— (Scornfully )—1 am sure she is double-jointed. 
Anyone can dance that way if she’s double-jointed! 



12 


EGYPT 


PERCIVAL —(To Tawny Chal, laughing) —A-ah ! She is 
melting, brother—melting at last —{She is in fact, dancing more 
and more voluptuously, smiling upon her partner.) 

EGYPT— {Breathless) —Faster! Faster, I say?—{The music 
worked up, together zvith the dance, to frantic haste. Suddenly 
Tawny Chal stops and holds open his arms, letting the dance go.) 

TAWNY CHAL —(With a cry of passion) — Egypt! 

EGYPT—Tawny Chal —{She is about to throw herself into his 
arms when Faro, with a smothered oath, tossing away his pipe, 
steps between them and seizes her himself in a passionate embrace) 
— {With a cry of triumph) —A-ha ! You love me—I knew—I knew! 
(She clings her arms about his neck.) 

TAWNY CHAL —{Turning ozvay )—Damn her to hell !—{The 
men, laughing at him, go back to their poker.) 

ONE OF THE GIRLS—The way she did it! 

THE OTHER—She has no shame at all! {The women dis¬ 
appeared into the tents.) 

EGYPT —{Disengaging herself from Faro’s embrace and lead¬ 
ing him towards the fire) —Look! Here is your supper. I have 
kept it hot for you—and it is mutton-stew, with plenty of little 
onions ! 

FARO —{Taking it) —I’ve had my supper. 

EGYPT—Where have you been? 

FARO—In the shade of gorgio’s house. 

EGYPT— {Jealously) —A-ha! It’s a woman- 

FARO— {Calmly) —No. A horse. 

EGYPT—Thank God! Did you steal him? 

FARO—Yes, it was that that made me late. 

EGYPT— {Suddenly) —Your father- 

faro—W ell? 

EGYPT—He’s getting drunk—he won’t return till dawn—who 
knows ? 

FARO—The devil, my father, and God alone! 

EGYPT—Then this is our night. Faro- 

faro—W hat? 

EGYPT—If we wait, he’ll sell me. But—he’s away—he’s gone 

now'- 

FARO—Well ? 

EGYPT— {Passionately )—IMarry me to-night, Faro! 

FARO— {Suspiciously )—And then ? 

EGYPT—Go south with the new horse and the lightest wagon. 
When he comes back, we shall be miles away—you and I—rom and 
rawnie! 

FARO—Stop—! I’m thinking— (Pause) —No. We shall wait 
for him. When you make his coffee. I shall put in some pig-poison. 
Then / shall be chief—I can have all the horses and you and my 
father’s new' gun. 



EGYPT 


13 


EGYPT— {Frightened )—Drab him as we’d drab a bawlor! No 
—he’s your father! We should have three-headed children —{With 
a shudder) —No, Faro, not that I 

FARO —{With sombre irritation )—I want that doubled bar-* 
relied gun! 

EGYPT —{In a rage )—You mean you want it more than you 
want me ! A gun—a gun ! 

FARO—Oh, God! You blaze like pitch! 

EGYPT—So—! Now it’s plain! Do you think I dare! Just 
wait and see!— (Calling )—Tawny Chal—Tawny Chal are you 
there? 

TAWNY CHAL —{Running up) —Egypt! 

FARO —{Between them) —She’s my woman, Tawny Chal. 

TAWNY CHAL—Not yet, brother—not yet! 

FARO—Mine, by God!— {Calling )—Percival Srnith—Lancelot 
King—Mrs. Smith—you—you, John—you—all of you! come here! 

LUCRETIA —{Appearing at the tent door )—What is it? 

TAWNY CHAL—He’s out of his head—that’s a\\—{They 
all gather round Faro.) 

FARO—I take a wife to-night. 

PERCIVAL SMITH—A wife-! 

LUCRETIA—She’s got him at last! 

PERCIVAL—But the chief—your father- 

FARO— {Interrupting )—We shall be gone when he comes 
back. 

TAWNY CHAL—He’ll catch you—sure as death ! 

FARO —{Looking at his watch) —It’s after eight. Come to 
the fire—! All of you—quick! Egypt !—{There is a rustle and 
niove}nent and murmur as they obediently turn towards the fire.) 

MRS. KOMELLO— {Suddenly) —No—no—no —!—{They turn 
startled.) 

FARO—Come, Egypt—quick! 

EGYPT— (Pausing) —Gran-bebee ! 

MRS. KOMELLO—Sweetheart, it’s your unlucky day. The 
stars are cold to-night. There are blind things flapping in the air. 

FARO —(With a laugh )—A mad old woman! See, they are 
all ready !—(He tries to draiv Egypt aivay.) 

MRS. KOMELLO— (Wailing )—My daughter—little daughter! 

EGYPT— (Simply) —I—I love him, gran-bebee.— (He drazvs her 
oz'er .to the fire, ivhere, on the right side are the women—on the 
left the men, Egypt takes her place before the women, Faro be¬ 
fore the men. The dying fire is between them; its red glow lights 
up their faces. Over it they clasp one another’s hands. Old 
Lancelot again plays his guitar.) 

FARO— (Solemnly) —“Fire, you who burn the bad people, 
whose flames devour the very earth, bring death to both of us if 
oiir vows are broken”! 

EGYPT —(Echoing him )—“Bring death to both of us, if our 
vows are broken.” 



14 


EGYPT^^ ^ 


FARO —(Taking water from a jar in his hands and throwing 
it into the air, whence it falls upon the coals )—“The waters of 
the earth shall never keep us apart.” 

EGYPT— (Tossing up some soil which she picks from ground) 
—“The roads of the earth shall always lead us together.” 

FARO—“The fires of our love shall never fall to ashes-” 

EGYPT —(Finishing the ritual )—“So long as we breathe the 
air that-” 

TAWNY CUAl^—(Interrupting)—Hark—!—(They all turn 
and listen; there is a dead silence )—I thought I heard. 

PERCIVAL SMITH—It was an owl’s hoot. Nothing more. 

FARO— (To Egypt)—Qmck —go on! 

EGYPT— (Taking off her dikla or girdle) —“My virgin girdle is 
no longer mine, but yours.” 

FARO —(Taking it and laying it on the coals )—“My flames will 
burn it.” —(It bursts into fire and lights up their faces and figures, 
then dies down,) 

LUCRETIA— (Clapping) —That’s a good sign! 

ONE OF THE GIRLS—How high the flames reach! 

THE OTHER—You lucky Egypt! 

FARO—The Brandy— (It is passed by the women in cups, Lu- 
cretia pouring it.) 

ALL MEN— (Holding up their cups) —Live! 

WOMEN— (In answer) —Be happy!— (Both women and men 
drink their health.) 

FARO—Brothers, the wedding Song! 

MEN AND WOMEN— (Singing, clapping hands to mark the 
rhythm.) 

“Kay o kam avriavel 
Kiya mange lele beshel! 

Kay o kam tel’ avel 
Kiya lelakin me beshair!” 

(Meanwhile as they sing. Faro has bared his breast and has cut 
the skin just over his heart, with his jack-knife. He dips his 
fingers into the blood and stretches them out to mark Egypt’s 
forehead, she kneeling before him, when suddenly the song stops 
in the middle of a phrase. Everyone huddles azvay, again looking 
towards Back. Egypt and Faro stand alone by the fire, also looking 
back. The Old Chief has returned. He appeared just after the 
beginning of the song, and has been standing at back, above the 
rocks, looking down malignantly upon the scene. He is a huge 
old gypsy with uncut grey hair, an air of indescribable authority. 
He carries a double-barrelled gun. He walks slowly down, amtd 
a terrified silenee, to where Egypt and Faro are still standing, over 
the fire, hypnotised by his presence.) 

OLD FARO —(At last) —What are you doing there?— (Pause) 
— I thought I heard the wedding song— (Pause )—No doubt it was 
the wind among the trees— (To the rest) —Why do you look away— 
Fercival Smith—Tawny Chal—Lancelot—Lucretia Smith—what 
have you done to stand before me silent and ashamed? 



EGYPT 


15 


EGYPT— (Bursting out) —Oh it’s true! It’s true! We cannot 
fight the stars ! 

OLD FARO—So it was the wedding song! And 
you swore the oath and burnt the girdle and split the brandy— 
all for—nothing!— (Sudden nio7jement on the part of Egypt.) 

EGYPT— (Under her breath) —No! 

OLD FARO— (Always to his son) —Yes—nothing! I have 
made another plan for Egypt here— (Calling) —Listen—all of you! 
Do vou know where your poor old chief has been? 

TAWNY CHAL—How should we know, Mr. Black^ 

OLD FARO—I have made a visit, Tawny Chal. I have made 
a visit to a rich gorgio, who owns many trotting horses. One of 
them I saw tied to a tree as I came into camp— (Looking at his 
son) —God and the devil, who alone know everything, know how 
he came here I This rich gorgio was the husband of a Romany 
Chi. She lived two years in his house and then by night she took 
his daughter back to the gypsy tires and to us of the dark quarry. 
And when she died, some said the child died, too. Now, listen! 
For this is the strangest thing of all! She did not die, this child 
of a gorgio father and a Romany mother- 

EGYPT— (Staring at him) —No! 

OLD FARO— (Turning suddenly and for the first time to 
Egypt) —She is alive—and full of blood—and beautiful as a young 
eagle- 

EGYPT —(In grozAng terror) —No! Stop it! No! 

OLD FARO—Idttle one. I see the truth hiding in your eyes! 
For by God! It is the truth! You are the gorgio’s daughter! 
I have told him you are here, I am selling you back to him for 
a thousand dollars-^ 

EGYPT— (Covering her ears) —No—no—it’s a lie—hukni—I 
don’t believe it—it’s not true. 

OLD FARO—I have shown him the little dress and chain of 
gold you wore when your mother laid you at my feet. . . . 

EGWT—(Screaming) —You lie—you’re an old liar—we all 
know that-! 

OLD FARO—You don’t believe' me—so? But your father 
believes me, little gorgio woman ! He has gone to the town to get 
the money, he is coming here to take you away—now—this very 
(With a laugh)—yowr wedding night! 

EGYPT— (Desperately)—Gv?in-hthtt—(She runs across to the 
old woman, who now risen for the first time, and totters, bent and 
feeble tozvards the chief.) 

MRS.- KOMELLO—fY/inVhv'—Faro Black—will you sell my 
flesh and blood—the last thing I have on earth—my little sweet¬ 
heart—my own- 

OLD FARO—(Interrupfing)—Back to your bed, you old hen 
hatched from a rotten egg— 

MRS. KOMELLO—fN/zaA’i «.(7 her stick at htm)—\\ a\t till the 
gorgio comes and I tell him the truth! 

OLD F.\RO—(Saz’agely)—Shnt your gums, old cat. or- 



16 


EGYPT 


MRS. KOMELLO— before)—U 2 ir\ Devil! 

OLD FARO —(Between his teeth )—Old fool !—(He seizes her 
by the throat and chokes the words out of her mouth, shakes her 
violently backward and forward, and throws her to the ground, 
where she lies quivering and exhausted.) 

EGYPT —(Clinging to Faro) —F'aro ! You won’t let them take 

me ? 

FARO —(Putting his arm around her and lifting his head )— 
Xo, by God!—this is our wedding night! 

OLD FARO— (Contemptuously )—Have you forgotten the day 
you disobeyed me last? Look out, my son !—(Turning to where 
Mrs. Komello lies groaning and touching her with his foot .)— 
Get up! 

EGYPT —(To Faro—in a whisper )—Kill him, Faro—kill him—• 
now—oh, kill him-! 

OLD FARO— (Laughing )—The old blind goose—her brain is 
full of bugs !—(Faro who has held his jack-knife in his hand since 
the abrupt interruption of the ceremony, now comes up behind 
his father with a panther’s tread, ready to stab him in the back.) 

LUCRETIA —(Screaming involuntarily at the sight) —A-ah !— 
(Just as Old Faro turns round, four of the men rush for'ward 
and seize young Faro, who is on the point of striking. There is 
a violent struggle.) 

FARO— (Yelling )—Let me go! I’ll kill him—I’ll cut his heart 
out—you can’t stop me! Damn you, let me go!—(He is finally 
overcome and his arms are jerked back and held behind him.) 

OLD FARO— (Laughing )—Kill me! Go on. I’d like to see 
you !—(Slight pause as he looks contemptuously at his son )—Young 
fool !—(He strikes him carelessly on the mouth, then speaking to 
the men )—Strap him to a tree and cool him down. I’ll fix him 
later .—(The men drag Faro away silently)—Turning to Egypt .)— 
Egypt! 

EGYPT—Yes. Mr. Black. 

OLD FARO—Will vou obey my law? 

EGYPT—(Quietly)—'^o, Mr. Black. 

OLD FARO —(Walking up to her and looking her in the 
eye .)—Do you remember an autumn night, last year, on the Western 
plain ?—(There is a frightful murmur from the gypsies.) 

EGYPT— (Pause) —Yes, Mr. Black. 

OLD FARO—You watched till dawn, and then at last you saw 
a woman die ?—(Slight pause )—Do I speak clearly, little Egypt? 

EGYPT —(With a shiver) —Yes, Mr. Black. 

OLD FARO—Then you’ll obey my law? 

EGYPT —(Almost whispering )—I can’t- 

OLD FARO —(With a sudden snarl )—Take off your shawl!— 
(Calling) —Here—you and Smith ! Hold her hands ! My whip. 
Tawny Chal—the old one! Quick !—(Percival Smith and the fid¬ 
dler come forward reluctantly, Egypt zmth set lips, has taken off 
her shawd, and kneels, her head bowed. The two men hold her 
hands. Tawny dial returns with a black snake-whip.) 



EGYPT 


17 


LUC\iETIA—(Im/^i(lswely)—Oh, the poor child! 

OLD FARO —(Ready with the whip )—For -the last time, 
Lgypt Komello? 

EGYPT—I love him, Mr. Black .—(In a spasm of rage he leans 
over and rips her dress down the back—her flesh is exposed. Then 
he steps back for the first stroke. Just here from the not far- 
distant road is heard the “Honk! Honk!’’ of a motor car.) 

OLD FARO— (Listening—his whip upraised )—The gorgios !— 
(Throwing down the whip) —Quick—you boy! They’re on the road ! 
Stop them and bring them here !—Fiddler runs up back and 
disappears.) 

OLD FARO —(To Egypt )—Get up. Put on your shawl. Your 
father’s coming. 

EGYPT— (Wildly )—Whip me! Whip me to death! Go on—■ 
I’d rather-! 

OLD FARO— (Savagely )—Get up, I say! —(He pulls her vio¬ 
lently to her feet. Then to Lucretia )—Open mv oldest whiskey— 
and have the glasses clean!— (To the Tinker) —Here then—another 
log on the fire! Now—off with your hats when the gorgios come— 
(Kicking a sleeping man.) — Up with you — stand! — (Perceiving 
Egypt slinking off into the darkness L., he reaches her zvith a 
bound and drags her back.) —Here, none of that, you slut! Come 
back!— (To the men .)—Keep your eye on her, pals. She’ll be off 
like a snake. That’s right. —(She stands quietly during the follow¬ 
ing scene—a sullen, beautiful, silent young animal.)—Meanwhile 
from above the rocks at back, can be heard the Fiddler.) 

FIDDLER—This way, sirs ! Be careful—there are roots in the 
path! Give me your hand, sir—there !—He emerges finally. LIND¬ 
SAY and NICK z'an KLEET follow; him. Lindsay is a hot¬ 
headed, affectionate, nervous man of sixty or so, at present em¬ 
barrassed and constrained at being placed in such an extraordinary 
situation. Fie is torn between his desire to get his daughter back 
and his resentment against those zvho have brought so much suffer¬ 
ing upon him by stealing her. Nick van Kleet is a clever, zvhim- 
sical, experienced man of about thirty-eight. He is the girl’s god¬ 
father, and an old friend of Lindsay’s. He is fully alive to the 
interest and humor of- the .Ftuation. Both men are in motoring 
dress. OLD FARO stands bownng and fawning, ready to receive 
them. All the gypsies have taken off their hats, somezvhat azvk- 
zvardly.) 

LINDSEY—GS’£’H/i .(7 Old Faro}—Oh, there you are! 

OLD ¥\RO—(Szueetly )—You have been quick, my friend! 

¥\N,¥>S¥y—(Climbing down)—\ came in a motor—now where 
is she? 

OLD FARO—Surelv the father will know his child among a 
thousand! 

LINDSEY —(Looking about azvkwardly)—C7i\\t say I do. You 
see it’s a long time s\nQ(;.—(Bursting out suddenly.)— you, 
where’s my daughter? / want my daughter! 



18 


EGYPT 


OLD FARO—Look, sir! There she is—behind you. The most 
beautiful chi !• have ever seen—and gentle and sweet as a little 
lamb! Surely the good Lord has blessed you, sir, when he- 

LINDSEY —(Looking at the group among which Egypt 
stands )—Which one? 

NICK —(Who has been looking at them, now speaking quietly) 
—The one with the red shawl, Lindsey .—(To Old Faro )—Got such 
a thing as a match? 

LINDSEY—How do you know? 

NICK—I dunno—but I do I —(To Old Faro) —Thanks. (He 

lights a cigarette.) 

OLD FARO— (Sulkily )—The gentleman is right, sir, he is very 
quick! Yes, that is your daughter. Come, my Egypt !—(To Lind¬ 
sey) —See, the poor child is afraid of you !—(To Egypt) —Come, 
my dear, the gentleman’s name is Lindsey. He is very rich and he 
is your father. 

NICK—“Egypt.” 

OLD FARO— (Deprecating )—The foolish name we gypsies 
gave her in' our ignorance ! 

NICK —(To himself, staring at her) — Egypt! 

LINDSEY —(Going up to her) —Yes, it’s all right—don’t be 
afraid !—(Then hardly able to control his emotion he takes her in 
his arms .)—My Blanche—my little girl! Don’t you remember your 
old daddy? Of course you don’t, but never mind, it’ll come—it’ll 
come—excuse me, dear—I—I didn’t know you were going to look 
so like your mother !—(He turns aside, suddenly, to blozu Iris nose.) 

NICK— (1 hroimng azvay his cigarette and going up to her) — 
We’re old friends, you and I—in fact. I’m your goTfather. I 
believe I’m held responsible for your good behavior—altho’ I’ve 
known you to lireak my watch three times in one week. And now— 
bv Jove!—you’ve grown into a regular serpent of Old Nile' 
\^^■)n’t you shake hands ?—(He holds out his hand. After a mo- 
ment, she gives him hers, zvhich he raises lightly to his lips.) 

LINDSEY —(Turning round to Old Faro, suddenly, and bully¬ 
ing him to relieve emotion )—’SMu old vagabond thief 3 ^: 111 , I’ve 
spent the best years of my life trying to find my daughter—I say. 
I’ve spent over a hundred thousand dollars, first and last—in- 

OLD FARO— (Imperturbably )—And now, sir, 3^011 pay only 
one. That is certainly very cheap. Let us go into the tent and 
talk business. 

LINDSEY— (Exploding) —It’s only because I gave you my 
word of honor that I pay you one cent! And what’s more, I’m 
going .straight from here to the Aiken Police Department—I’m 
going to have you and your whole gang jailed inside of twenty- 
four hours —(There is on ominous murmur on the part of the lis¬ 
tening gypsies )—I say. I’ll teach you thieves a lesson that won’t 
be forgotten in a hundred years. I’ll- 

EGYPT —(Interrupting him, speaking for the first time) —No— 

No! 



EGYPT 


19 


LIKDSRY—(Turning belligerently) — Why not? — (Suddenly 
softening^ his tone) —Why not, my dear? 

EGYPT—Because—if Pm your daughter, sir—you must be good 
to—to— (She stops, unable to go on.) 

LIYDSEY—(Tenderly)—llsi\7Q they treated you well, dear? 
^ ou’ve nothing to complain of ? 

EGYPT— (With a sudden quiver of tears) —No—no- 

LINDSEY—Well, then— (Turning sternly to Old Faro —If I let 
you off you have my daughter to thank—understand. Now Pm 
going to pay you your blood-money and get her out of this filthy 
hole! 

OLD FARO— (Grinning) —It is indeed no place for your 
honor’s daughter! If your honor and the other gentleman \vill 
kindly step inside my tent— (Fie holds open the door, a lantern in 
his hand.) 


LINDSEY— (To Nick, mho is staring at Egypt) —Come along, 
Nick. What are you looking at? 

VAN KLEET—Meinphis—Thebes — the Sphinx — 
Royal Egypt!— (Turning away quickly with a smile) —In here? 

OLD FARO—If you please, gentlemen, if you please!— (To 
the other gypsies) —Be still, you dogs, and don’t disturb their 
honors’ talk! R-ememher—not a word! —(He follows Lindsey and 
Nick into the tent. Their shadows can be seen on the canvas.) 

(There is a pause, during zuhich one of the girls rakes together 
the coals and the other hangs the kettle. Tawny dial grunts to 
Smith, who answers with a shrug of the shoulders. John, the 
fiddler, lights his pipe with a coal. The zvomen go in the other 
tent, one or two inside the zvagons. Four of the men wrap them¬ 
selves in blankets and lie around the fire. At last they have^ all 
faded aivay—Egypt stands alone and immobile, looking straight 
before her. Suddenly Mrs. Kornello is seen crawling towards her 
from out the darkness, sobbing in a. dry, tearless way. Egypt 
bends over, when the old zooman has touched her feet, and raises 
her to her feet. She holds her in her arms.) 

EGYPT—(Whispering) —S-sh ! You heard, gran-bebee? 

MRS. KOMELLO—(Fetzoeen her sobs)—\ heard—little swal¬ 
low- . , , 

EGYPT—It it true, then? Am I that gorgio s daughter?— 

(Pause.) 

MRS. KOMELLO—God forgive me, what can I say but 
“yes ?”— (Pause.) 

EGYPT—(Strangely)—\ see. The leaves were right, gran- 
bebee. Black suffering—love—or death-! .... 

(Suddenly from the left is heard the note of quail, piercing 
the darkness ) 

EG,YPT—(Starting )—! 

MRS. KOMELLO—It’s the young chal. I unbuckled the straps 
Go to him, dearie—he wants to say good-bye! 



20 


EGYPT 


(Egypt leaves the old woman, erosses swiftly to extreme left, 
zi'here, in the light of a lantern, hung to a tree, young Faro comes 
out of the woods, pale and a little unsteady on his feet.) 

EGYPT—Faro !—(He takes her desperately in his arms. There 
is a passionate embrace.) 

FARO— (Muttering )—Your lips—your mouth —(He kisses her) 
—Egypt—my own rawnie —(He kisses her again.) 

EGYPT— (Brokenly )—Behind the bad luck—comes—the good! 

FARO—I know—heart of my heart—^^there’s sleep at the end 
of the longest road. 

EGYPT— (Thro’ her tears )—The stars have said it, Faro. We 
must smile and bear. Everything comes if the gypsy waits I— 
(With a sob) —But—but oh! we are tired of waiting—you and I! 

FARO—Our wedding night—I see it through a mist of 
years!— (Passionately )—But it will happen—somewhere—sometime 
—as surely as the rivers reach the sea! 

EGYPT—I shall be ready, Faro. You are the master—I 
am the slave .—(He crushes her to him again. Then suddenly re¬ 
membering, he very hastily puts his hand to his heart and makes 
a bloody sign upon her forehead.) 

FARO—There! My mark is on you! 

EGYPT—The waters of the world can never wash it away! 

FARO —(Slipping a charm from about his neck )—Here is the 
charm my mother gave me the night she died .—(As he hangs it 
about her neck.) —It’ll bring what you love most on this earth- 

EGYPT—Then it will bring you back to me! 

FARO— (Suddenly) —S-st !—(He looks up) —No, they’re still 
in the tent—I can see their shadows- 

EGYPT —(Taking off the silk handkerchief that is about her 
head gypsy fashion and giving it to him) —It’s all I have. Take 
it—put it where your heart will keep it warm! Look at it on 
nights like this—think of me—Faro, think of me sometimes. 

FARO —(Putting the handkerchief under his shirt and look¬ 
ing up) —They’re coming—damn their souls- 

EGYPT— (Passionately) —1 don’t care—kiss me!— (Their lips 
meet as Lindsey, Nick and Old Faro come out of the tent.) 

LINDSEY —(Peering about) —W'here’s my daughter? 

OLD FARO —(Counting a roll of bills )—Two hundred and 
lift}^—three hundred—three hundred and fifty- 

FARO —(In Egypt’s arms )—1 love you—maduvaleste—j—! 

EGYPT—I love 3 ^ 011 —1 shall love you when the last dawn 
breaks upon the world .—(He gives her one last kiss, she tears 
herself away abruptly) —Now— go! 

LIND.SEY —(Seeing her) —Oh, there you are! Come along, 
little daughter !—(She faces him and zmlks tozmrd him as if to 
her destruction.) 

MRS. KOMELLO —(Standing up suddenly and lifting her 
stick high above her head, the red firelight falling upon her figure) 
—The curse is on you, Romany tribe! It will turn your skins 
white and your red blood black and suck you dryer than the 




EGYPT 


21 


dryest bone. There will never be cinders in your forges, nor 
bread in your mouths, nor sleep in your eyes. You’re cursed, you 
gypsy people! 

NICK— (Startled) —Good Lord, what’s that? 

OLD FARO— (Smiling) —A mad old woman with a wicked 
tongue and no teeth. 

LINDSEY—Look out—she’s coming for you, Nick! 

NICK— (Half terrified) —Here—keep away there! 

MRS. KOMELLO— (Peering uncannily into his face) —This 
is a bad day for you, pretty gentleman—a bad—bad day. 

NICK— (Trying to smile) —My dear old lady, I- 

MRS. KOMELLO— (Interrupting) —You’ll remember what the 
old gypsy woman told you here under the pine trees—you’ll re¬ 
member when the night has come! 

NICK—Nonsense! Now if— (He makes as if to pass her.) 

MRS. KOMELLO— (In a spasm of malignant rage) —Bengois 
your see! Beng in tutes bukko ! 

NICK—What’s that she says? 

OLD FARO— (Politely) —She says, your honor, that she hopes 
the devil will eat your heart and your stomach. 

(Meanzvhile Faro has crossed the stage, among the trunks, 
and now passes at hack. His shadoiv suddenly falls upon Nick, 
obliterating him for a moment. Egypt sees this and shrieks aloud 
suddenly.) 

NICK—What’s the matter noivf 

EGYPT—Nothing. A shadow passed over you. A black 
shadow. 

]\ticK —(Turning quickly just in time to see young Faro melt 
away in the darkness right hack)—Who s that? I saw someone 
move back there! 

EGYPT—It’s only a pine tree in the wind of the night. 

NICK—(Coming up to /;^0—What’s that red mark on your 
forehead ? 

EGYPT—Onlv the light of the (\xq.—(P assing her arm over 
her brozv) —See—it’s all gone! 

N1 CK—(Sh ivering)—] ’m cold. 

LINDSEY—(Impatiently)—WeW, my dear, it’s time we were 

off! 

EGYPT—I’m reiu\y—(Slight pause)—sir.—(He puts his arm 
about her. Nick is on her other side. All three turn tozvards 
hack, meanzvhile Old Faro has lit a pine-knot at the fire and has 
been standing on the rocks waiting for them.) 

OLD h'ARO—This wav to the road, my lady and gentleman— 
this wav! Mind your steps—there are holes here! It’s easy to 
slip when you come to the gypsy camp. But don’t be afraid—I 11 
show you the \\uy—(He precedes them, up the rocks, talking as 
he goes; as he talks the curtain falls softly.) 



22 


EGYPT 


Act 2 

SCENE 

JUST FOUR YEARS LATER.' “The Bungalow,” Lindsey’s 
winter house near Aiken. It is a conventional, handsome library 
in Colonial style. To right are two windows, opening on the 
terrace and garden; between them a long window-door. To back- 
centre, up two steps, are the wide double doors opening into the 
hall, drawing-rooms, etc. These doors are now closed. To left 
is another double-entrance leading into the dining room. The 
stage is elaborately and beautifully decorated with palms, satin 
ribbons, white roses, orchids, etc. There are heavy garlands hang¬ 
ing from the four corners of the ceiling—attached in the centre 
of the chandelier. The hre-place at left is banked with ferns and 
roses, and a sheaf of orchids hangs over the big piano—right back. 
At the foot of the steps, on each side, enormous bouquets of ferns 
and roses are tied to the balustrade, and there are two huge piles 
of broad white satin ribbon, ready for the ushers to mark the 
aisle. Flowers everywhere. An elaborate house-wedding is at 
once suggested. 

It is almost half-past four on a spring afternoon. During 
the latter half of the acts clouds come up and obscure the sun. 
At the end it is quite black outside. 

As the curtain rises, Mrs. Sturges—a conventional autocratic, 
kindly little woman of fifty or so, beautifully dressed in pale grey 
and wearing wonderful pearls—is talking to two caterer’s men. 

MRS. STURGES— (Finishing her instructions) —The wedding’s 
set for five, but don’t begin uncorking the champagne till half-past. 
Mr. Lindsey hates it flat. Now let me see—is there anything 
more! Be sure to have a big knife ready for IMiss Lindsey to 
cut the cake—Mrs. Van Kleet, I mean. 

(The men bozv and EXIT L—into the dining room as Rosie 
Green and Anita Sturges, the tzvo bridesmaids, come in from back. 
They are pretty, smart young girls—dressed fust alike in elaborately 
simple goztms and hats.) 

ROSIE— (Entering) —Oh, IMrs. Sturges, the latest is, they won’t 
go North until to-morrow! She’s sending all her trunks by motor 
to the Crossways. I knew he’d take her to his own house first, 
and then- 

ANITA— (Interrupting) —They’re going up in his private car. 
What a perfectly gorgeous honeymoon that girl will have! Oh, 
dear, I wish a multi-millionaire would cast his eye on me! 

MRS. STURGES—Where is Natalie, anyway? 

ANITA—Isn’t she down here? 

MRS. STURGES—I haven’t seen here.— (To Mary Bellamy, 
ZJcho enters from back) —Mary, where’s Natalie? I asked her to 
come straight here as soon as she’d finished dressing. 

MARY—I don’t know, Mrs. Sturges. Oh, by the way, girls, 
you haven’t noticed my jade-bracelet anywhere? 



EGYPT 


23 


ROSIE—No. Have you lost it? 

MARY—Well, 1 left it on my dressing-table yesterday and 
now it’s gone. 

MRS. STURGES—There can’t be thieves among these 
servants— (She is interrupted by the entrance of Giles, the butler, 
from left.) 

GILES—The musicians, madam. 

MRS. STURGES— (Turning) —Put them under the stairs, be¬ 
hind the palms. I’ll speak to them later. And Giles, those bou¬ 
quets haven’t come! 

GILES— (Discreetly) —I beg pardon, madam. The hexpress 
office ’as just telephoned. They couldn’t find a messenger, h’owing 
'to the village being disturbed. 

ANITA—What’s the matter? 

GILES— (Haughtily) —Some drunken quarrel, miss. Young 
Bayes, the stationmaster’s son, was hinjured by a tramp. I ’eard 
no further details. The bouquets are on their way. 

MARY—How dreadful! 

MRS. STURGES—Oh, Giles, you haven’t seen Miss Natalie, 
have you? 

GILES— (Coldly) —Yes, madam. I noticed ’er from the pantry 
window running very swift in the direction of the stables. 

MRS. STURGES—What—? Not dressed - 

GILES—She was carrying ’er train hover one arm. 

EGYPT— (Coming in from back) —Dear Aunt Emma! I hope 
I haven’t kept you waiting!— (She is dressed in a beautiful wed¬ 
ding dress, her long lace veil thrown back from her face.) 

MRS. STURGES— (Severely) —Natalie, what’s this about 
your going down to the stables? 

EGYPT— (Innocently) —The stables? 

MRS. STURGES—Giles said he saw you. 

EGYPT—Me? Why. I’ve been upstairs in my room! I’ve 
just come down this minute. 

ROSIE—No. really? We knocked on your door a little while 
ago, but there wasn’t any answer. 

EGYPT—Wasn’t there? I’m sorry, dear. 

MRS. STURGES—GE/m has been examining Egypt’s feet)— 
Natalie! Your slippers-! 

EGYPT—(Drawing them up quickly under her dress)—WHWi 

MRS. STURGES—Isn’t that mud on them? 

E.GYET—(Laughing)—\Yhy, Aunt Emma! Your eyes are 
just as bad as Giles’! 

MRS. STURGES—Where’s your other glove? 

EGYPT—1 must have left it u^stTins,.—(Turning to the piano 
zvhere Rosie is pla\ing)—Yo\\, Rosie—come along! Nita! I’m 
going to give you all your presents!—09//^ takes three jewellers 
boxes from the piano.) 

ROSIE—How splendid! 

ANITA—You’re a dear, Natalie! 




24 


EGYPT 


MARY—I know they’ll be lovely!— (They gather about her.) 

EGYPT— (Selecting one box) —Rosie’s first.— (Sweetly to 
Rosie) —Dear Rosie, J. suppose this is really the parting of the 
ways, because I’m going to be married in half an hour and you’re 
not even engaged yet, are you? But never mind, dear—that’ll 
come if you’re a good girl and stop that dreadful, unladylike 
habit of swearing- 

MRS. STURGES— (Horrified)—Szvearing—f Rosie - ! 

ROSIE— (Disconcerted) —Well, I like that, when it’s you that 
taught me! 

EGYPT— (Soothingly) —So whenever you feel the ugly little 
words biting at your insides, just look at this ring and say, “For 
Natalie’s sake, I won’t let them out!”— (Kissing her and giving her 
the box.) —Do try, dear—and ask God to help you! 

ROSIE— (Coolly) —Thanks—you’re awfully kind. 

EGYPT— (To Anita) —Now, Anita—I know you won’t mind 
my giving you a few words of advice, too. I’ve been very pained 
to notice that you’re in the habit of saying things that, to be frank, 
aren’t quite true. Now, truth is the most beautiful thing in all 
the world- 

ANITA— (Interrupting) —Natalie, you’re horrid! 

EGYPT—Darling, it’s for your own good ! And I think you 
ought to struggle hard against this weakness, because just sup¬ 
pose for the sake of argument, that there is a possibility of your 
getting married- 

MRS. STURGES— (Interrupting) —My dear! 

EGYPT—Think how humiliating to have your husband find 
out you’re a liar- 

ANITA—Natalie! 

EGYPT— (Szueetly giving her the box and kissing her) —So 
dear, you must wear this little pendant always, and I hope you’ll 
feel it burning every time you want to tell a fib and- 

ANITA— (Irritated) — I don’t want your pendant, and, Natalie 
Lindsey, when it comes to telling fibs, there isn’t a girl I know 
that’s a patch On vou! 

MRS. STURGES—Now, Nita- 

EGYPT— (With sweet reproach) —Aly dear, how can you say 
such things! Why, I’d rather die than soil my lips with a lie! 

(Enter GILES from left, carrying a long, white glove as if it 
zvas a snake.) 

GILES—I beg pardon, miss, but this was found by the stable- 
boy outside your mare’s box-stall. 

EGYPT—What? Wh}^ it’s my glove!— (Snatching it from 
him) —I wonder how on earth it got down there!— (She shoots 
him a venomous glance) —However, it doesn’t matter, does it? 
That’s all, Giles—you may go. Thanks so much for bringing it 
to me. 

GILES—Not at all, miss.— (He exits left.) 



EGYPT 


25 


EGYPT—(After him, under her breath)—You son of a rattle¬ 
snake. 

ANITA (As sooji as Giles has gone) —Who’s a liar now? 

MRS. STURGES— (Sternly) —Natalie, what made yon go down 
to the stables? 

EGYPT—Well, I couldn’t get married without kissing the 
horses good bye, could I ?—(To Mary )—And here’s your present, 
you old darling. 1 hope you’re to get a splendid husband—all big 
and angry and beautiful! I hope you’ll love him—oh, very much 
indeed ! and cook him all sorts of good things to eat and have one 
baby a year—forever and ever—amen !—(She pins a brooch on 
■ Mary's heart and kisses her.) 

MARY— (Laughing )—Is that your idea of a husband-? 

EGYPT— (Eagerly )—Yes —someone to be afraid of—someone 
to obey! Someone who could carry me home and rip off my 
clothes and whip me till my back was wet with blood! And 
then- 

ROSIE—Go on —!—(Closing her eyes )—And then destroy me 
with the kisses of his mouth ! 

(Enter GILES from left, laden with boxes.) 

GILES—The bouciuets, madam. Shall I leave them here? 

MRS. STURGES—Thank you—just put them down .—(die 
does so and EXITS.) 

MARY —(Undoing the boxes )—This must be Natalie’s—oh, 
here’s mine !—(Taking out bouquet )—How charming! 

ANITA —(At another box )—These are ours! See how they 
match our gowns! 

ROSIE—I never knew a man with taste like Nick’s!— (The 
three girls talk among themselves.) 

MRS. STURGES —(To Egypt )—Come here, Natalie, and let 
me fix your skirt .—(When Egypt comes up to her .)—My dear, you 
must not talk the way you did just now! It*s not nice, and it’s 
not good form! You know you don’t hear Rosie or Mary or 
Clark Field or Daisy Leonard or any of your young friends say 
such things, and we want our little Natalie to be as much like 
them as she possibly can ! We want her to be a real sweet young 
girl! 

EGYPT —(Catching her veil on the top of a chair )—God benge 
a dukko blast it to hell! 

MRS. STURGES—What? 

EGYPT —(Turning szueetly )—I just said I wish this veil 
wouldn’t catch on every dam chair in the room! 

MRS. STURGES— (Angrily) —Natalie, I forbid you to use 
such language! 

EGYPT—But dad says it, whenever he’s playing golf, and 
misses the ball .—(Laughing innocently) —Oh, he says such funny 
things—he says, “God- 

AIRS. STURGES— (Interrupting) —It’s quite different ^with 
your father. He’s a man and you’re, well, we hope you’re a 
lady! 



26 


EGYPT 


EGYPT— (Injured) —Well, I hope so, too. Aunt Emma! How 
you talk! If you don’t look out you’ll hurt my feelings !—(Pulling 
a cigarette case from her bosom and opening it )—Have one— 
anybody ? 

AIRS. STURGES— (Tragically )—Aly dear—not in your wed¬ 
ding-dress! 

EGYPT—Don’t fuss—I won’t drop any ashes on it !—(She 
sits down cross-legged on the floor.) 

AIRS. STURGES—a little scream)—Oh—\ Oh—! 
Take care—your father! 

EGYPT —(Throwing her arms about his neck) —Oh, daddy, 
you look so handsome! 

LINDSEY— (Tenderly )—Little rascal— (Suddenly) — Natalie, 
you haven’t been smoking, have you? 

EGYPT— (Innocently) —No, dad. Why, you told me not to. 
Don’t you remember? 

LINDSEY— (Whimsically) —Yes, I thought you might be the 
one to forget !—(To Airs. Sturges) —Emma, the Bishop’s here and 
wants to know where he’s to put on his robes, the band’s wavering 
between Wagner and Offenbach, and I saw Howard Cinder’s motor 
coming up the drive .—(Saluting her )—Now I’ve informed the boss, 
according to orders! 

AIRS. STURGES —(Anxiously going tozoard back) —Oh, dear, 
I suppose people will come early, because it looks like rain! Are 
those ushers ready? Oh, there’s Air. Wiggins !—(Calling as she 
goes out back) —Air. Wiggins! Air. Wiggins, would you find the 
Bishop and take him up to the- 

ANITA —(To Rosie )—Now we’re going to practice once more! 

1 must learn to glide like you. Alary. 

ROSIE—It’s perfectly simple. Keep both feet glued to the 
ground !—(She sings the Lohengrin march) — Noiv!—(She sings )— 
Head up! Hips slightly hack—that’s right! (She sings.) 

ANITA—Is my bouquet right? 

ROSIE—No—further up. And don’t he so stiff! Just look 
perfectly simple and charming, the way I do—and smile!—(She 
sings as they t^ass out the door — left—into the dining room.) 

AIARA ^—(Who has been looking at Egypt’s arm) —Why, 
Natalie! Isn’t that —(Coming closer )—Just let me look! 

EGYPT —(Edging off nervously )—What do you want? 

AIAR ^’—(Taking her arm) —Yes—it is! I can tell by that 
little chipped place where I dropped it on the hearth. 

EGA’PT—What are you talking about? 

AIARA’— (Simply )—Aly bracelet! Someone must have put it 
with your things. 

EGA^PT— (Kindly) —I’m afraid you’re mixed up. Alary. This 
is my I)racelet. A"ou see it’s made of lucky stones. I’ve had it 
all my life. 

AIARY —(Looking at her )—Are I'ou sure? 

EGA’PT —(Returning the look) —Perfectly!— (Pause.) 

AIARA"— (Murmuring )—Then of course—I was mistaken- 



EGYPT 


27 


EG\ PT— (Generously) —That’s all right, dear. Everybody 
makes mistakes now and then. 

MARY —(Turning away) —I’m sorry- 

(She EXITS—left—into dining room. Egypt skips up to 
where her father is sitting, and perches on the arm of his chair.) 

EGYPT —(Kissing the top of his head )—Good old popover ! 

LINDSEY—Sit down, Natalie, I want to talk to yon serionslv. 
I want to- 

EG\ PT —(Cooing as she interrupts )—Dear old dad, why, you’re 
getting all bald—just like an ostrich egg! 

LINDSEY— (Annoyed )—Stop mussing up my hair! 

EGYPT—Oh, you naughty man! You never washed your 
ears this morning! 

LINDSEY— (More annoyed) —Damn it all, 1- 

EGYPT— (Quickly) —No—don’t move—don’t swear! Just a 
second and I’ll have it done !—(She rolls her handkerchief over her 
finger, sticks it in her mouth, and prepares for the attack.) 

LINDSEY— (Thundering )—Natalie-! 

EGYPT —(Taking au^ay her hand and speaking in a small voice 
of assumed terror) —Yes, your honor? 

LINDSEY —(S of telling )-^Stog wriggling for a minute, while 
I talk to you! You see, I couldn’t sleep last night—some dam’ 
stray dog was howling at the moon ! And as I lay awake, all sorts 
of old, forgotten things kept coming to my mind—and so I thought 
I’d have a little chat with you to-day, and clear up everything for 
good and all. 

EGYPT—What do you mean? 

LINDSEY— (Gently )—Just tell me, dear, you’re going to be 
happy with Nick. 

EGYPT—Of course I am! What a funny question! 

LINDSEY—And that you love him—very much indeed. 

EGYPT—Of course I love him. He’s so—very rich and 
pleasant and refined ! 

LINDSEY—And when you marry him you won’t be home¬ 
sick for—well, you know ?—(Slight pause.) 

EGYPT—No, dad—of course I won’t. 

LINDSEY —(Looking off )—I could understand it if you were. 
You see I had a month of it myself—a whole month, after your 
mother found me senseless on the road. I used to lie all day in 
the wagon on two old patchwork quilts—and then at night she’d 
sing to me—the firelight used to make her eyes so bright! She 
wore one of those yellow things tied over her head, you know— 
and I ate my stew out of an old tin plate. Good Lord I can see 
the dents in it to-day! 

EGYPT —(After a pause) —Well, dad, have you finished? Is 
that all? 

LINDSEY —(His thoughts returning) —No, dear, there s one 
thing move.—(With some hesitation)—Those gypsy fellows. They 
were always hanging around, I suppose? And you were^ just a 
kid—^^why, it would have been so natural, if —(He pauses.) 



28 


EGYPT 


EGYPT—If what? 

LINDSEY—If—you’d liked one of them, I mean .—(Slight 
pause.) 

EGYPT— (Deliberately )—But you see, dear—I didn’t. 

LINDSEY —(Not looking at her )—That dime you always wear 
around your neck—? Your mother gave me one just like it, I 
remember. 

EGYPT— (Laughing )—You silly! It’s just a cure for warts— 
that’s all! 

LINDSEY —(Much relieved )—Is it? Then I’m through. And 
I’m so glad there’s nothing to distress you when you look back— 
oh, well, I suppose I’m an old fool, but, after all, this is your 
wedding day !—(Looking up) —Why, what’s the matter, dear? 
You’re crying! 

EGYPT —(Her arms about him, sobbing) —Oh, dad—you’re just 
the goodest man God ever made !—(She kneels before him, burying 
her head in his lap.) 

LINDSEY —(Smiling down at her )—Honest Injun? Will you 
do something to please me, then? 

(EGYPT—Oh, yes—what is it? 

LINDSEY— (Tenderly )—Tell me the truth about Mary’s brace¬ 
let.— (Pause.) 

EGYPT —(In a different tone, drawing aivay)—I don’t know 
anything about her old bracelet! 

LINDSEY —(Always tenderly )—My dear, can’t you trust me? 
Now didn’t you just —borrow it, without asking leave, and—then 
there was the fuss about it’s being lost—you were frightened— 
so you didn’t speak up. Isn’t that it? 

EGYPT— (Candidly )—Cross mv'heart and hope to die if I 
know a thing about it !—(She suits her action to her words.) 

LINDSEY— (Coa.xingly) —Please, dear—just to me! I won’t 
tell a single soul! 

EGYPT—I can’t say I told a lie when I didn’t! That would 
be wrong! 

LINDSEY —(Half amused—half sad) —Ah, but you’ve been 
wrong—so often ! 

EGYPT— (Tearfully) —Dad, you hurt me! 

LINDSEY—Tm sorry, dear. 1 won’t bother you any more.— 
(In a detached tone, looking at the ceiling )—Only I saw such a 
stunning bracelet at Tiffany’s the day before 1 left town—it was a 
band of diamonds with three huge emeralds on top—and I thought 
if this one had happened to be Mary’s, I’d have bought that other 
for your birthday, however, there’s no use discussing it, is there? 

EGYPT —(Who has listened greedily )—Were they emeralds— 
by any chance—those big square ones that look like wonderful 
green glass? 

LINDSEY— (Carelessly) —Yes. I believe they were— (Rising )— 
W’ell, I suppose I ought to be helping your Aunt Emma receive!— 
(She has sloivly slipped off' the jade bracelet and noiv holds it out 
to him.) 



EGYPT 


29 


EGYPT —(In a small voice) —Dad !—(He turns and sees it.) 

LINDSEY—Aly darling !—(He catches her in his arms. The 
orchestra is heard in the next room beginning Wagner's “Traume.” 
Nick, dressed in bridal finery, appears left, holding something 
carefully in both hands.) 

NICK— (Gaily) —Well, where do I come in on this? 

LINDSEY —(Releasing her quickly and blowing his nose )— 
It’s all right—I’m just going !—(To Egypt—rather uncertainly )— 
God bless you, little girl! 

(He EXITS at back. The sound of many voices off louder 
music can be heard as the doors open and shut.) 

NICK— (Simply )—Look what I have! It flew into my room 
upstairs when I was dressing. 

EGYPT— (Looking )—A swallow! 

NICK—What do you always call them—“Little children of 
the wind”? 

EGYPT —(Taking the bird into her own hands )—All the rest 
have flown north long ago. They must have left this little one 
behind. 

NICK—It lies so still—but can’t you feel the wildness under¬ 
neath ? 

EGYPT —(With strange look in her eyes) —Oh, Nick, she’s 
telling me with every heart-beat that outdoors the spring has 
come ! * 

NICK—Then let her go, my dear, don’t keep her any more! 

EGYPT —(At window )—Go home to the wind and sky, little 
sister—good bye—good bye —(She sets it free) —She’s gone— 
she’s flying into the storm!— (Turning, wildly, and impulsively to 
Nick, let me go, too! 

NICK—What? 

EGYPT—Don’t hold me! Let me go! 

NICK—You mean- 

EGYPT— (Interrupting) —Yes, I mean it! Listen—I’ll fall sick 
—we’ll postpone the wedding—^^there’s time yet—oh, Nick, there’s 
time yet before it’s all too late-! 

NICK— (Decidedly) —It’s too late now. 

EGYPT—Why? 

NICK—Because I love you. 

EGYPT—No-! 

NICK —(Still firmly )—I love you and I’ve got to have you. 
I knew it when I saw you in the tents of Egypt—long ago! 

EGYPT—Nick-! 

—(Rather jerkily) —You’ve done so much for me—you 
don’t know! You’re like a blaze of color to a man who thought 
he’d gone blind years ago—or sudden music in the dead of 
night- 

^GYTT—(Piteously)—Oh, please-! 

I\^7CK—Everything had happened before I met you. I’d lived 
and died. Then you came—and I saw your gypsy eyes—and I 
rose up to a life I’d never dreamed of in the world! My dear, it 



30 


EGYPT 


was resurrection —resurrection—that’s what it was !—and now you 
ask me to go back into my grave! 

EGYPT— (Wailing) —What’ll I do—oh, what’ll I do? 

NICK— (Laughing) —Listen—I’ll tell you! You’re going to 
marry me in about five minutes and then we’ll spread our wings 
and hy out of this stupid little cage—we’re going to fly off like those 
swallows in the spring-time, and never come home again! 

EGYPT —a note of hope)—Oh, Nick! 

NICK—I’m going to give you everything you ever fancied on 
a summer’s night! All the glories of the world—I’m going to 
drop them in your lap like jewels, one by one! 

EGYPT —(With a gasp) —Oh!—oh! But I’m expensive! Dad 
told me once I—m- 

NICK —(Interrupting gaily)—I don’t care! What’s the good 
of money unless you have someone to squander it on? We’ll go 
to Paris first and I’ll get you a wilderness of clothes—a new. 
dress for every minute of the year! And then the jewelers in the 
Rue de la Paix—we’ll clean them out like burglars, you and I! 

EGYPT— (Tremulously) —Oh, Nick—will you give me a long 
chain of big, big rubies—heavy—and red, like blood and wine— 
and fire? 

NICK—Bushels of ’em, my dear—and diamonds—and a cata¬ 
ract of pearls—and fillets of sapphires set in platinum—and brace¬ 
let snakes with emerald eyes- 

T.GYV1:—(Delighted)—Oh—\ Oh—! 

NICK—And after Paris we’ll go south and have a crack at 
Monte Carlo. I always thought it was the dullest hole on earth, 
but now, by Jove, I’d rather like to see you play! 

EGYPT— (Breathless) —I’ll win—I know I’ll win! 

NICK—And then my yacht’ll meet us at IMarseilles and we’ll 
go cruising off the coast of Italy—we’ll take a palace somewhere- 

EGYPT —(More and more excited, as she interrupts )—A pal¬ 
ace with a hundred rooms! 

NICK— (Smiling) —Ah, yes—and a hundred doors! 

EGYPT —(Clapping her hands )—You always understood—you 
always knew! 

NICK—And we’ll fill it full with silver and glass and gold— 
marble, all the colors of the sea! and what d’you call it? Jacynth 
and gates of pearl! 

EGYPT—Oh. Nick—! 

NICK —(Always smiling) —We’ll have the tree of life growing 
in our garden—and pomegranates and figs—orchids and moss- 
roses—the fountains playing champagne the livelong day- 

EGYPT— (Ecstatically )—And way up in the trees we’ll hear 
the singing of the birds of Paradise! 

NICK—Yes, but we won’t stay there—we’ll wander on to 
Greece and Egypt- 

EGYPT —(Under her breath )—Egypt-! 

NICK—We’ll have you floating down the river—good Lord! 
like another Cleopatra, with an Anthony in trousers to hold your 



EGYPT 


31 


little hand ! And then some night we’ll ride for miles and miles— 
out into the desert—and pitch our tents and sleep there with the 
stars like big lamps in the sky! 

EGYPT— (Intoxicated )—Nick ! 

NICK —(Turning to her with a challenge in his voice )—Now 
what do you say? Now what? 

EGYPT—I don’t know—my head’s swimming- 

NICK— (Softly )—Egyptian sorceress ! 

EGYPT—All the glories of the world—oh, Nick—you prom¬ 
ised ! 

NICK —(Gathering her to him )—Little serpent of old Nile- 

EGYPT— (Faintly) —Don’t, Nick—please—not now. 

NICK —(Betzveen his teeth) —You’ve stung me and you’ve made 
me young again ! 

(He kisses her with a touch of passion. It grows darker out¬ 
side. There is a quiver of lightning, followed by a slight rumble 
of thunder. Mrs. Komello appears at the window outside and looks 
in. Egypt sees her over Nick’s shoulder and shrieks aloud.) 

NICK— (Quickly) —What’s the matter? 

EGYPT—Nothing! nothing! 

ROSIE —(To Mary )—Come along—we’ll go in the dining room. 

MARY—I’ll get the old lady something to eat. 

ANITA —(To Egypt) —Don’t forget anything, now !—(She and 
Mary go out.) 

ROSIE—(At door)—K\ck\ 

NICK —(To Egypt )—You don’t mind—all this, do you? 

EGYPT—Oh, no, dear—so long as they want to be silly, / 
don’t mind. 

(He EXITS left. Mrs. Komello makes a sudden movement 
towards Egypt.) 

EGYPT —(Her eyes on the door) —No—wait !—(She goes over 
and locks it silently and quickly. Then turns with abandon to 
Mrs. Komello.) — Gran-bebeeI 

MRS. KOMELLO— low, fierce tenderness) — Egypt! 
Little sweetheart! Merrie tawnie chi .—(She takes the girl in he^' 
arms and caresses her as an old lioness would her cub.) 

EGYPT— (Faintly) —Gran-bebee- 

MRS. KOMELLO—God bless you, little daughter—sarishan 
ryor—O baro duvel atch pa leste! 

EGYPT —(Very faintly) —Gran-bebee—don’t- 

MRS. KOMELLO— (Hungrily) —So—let me look at you. 
Little darling! Oh, the beautiful silk dress—you’re wearing !—(She 
fingers it curiously )—And this—all white—like a mist at dawn !— 
(She touches the veiD—Nnd the beads—and earrings! Lord- 
Lord ! That I should live to see my little bird so fine! 

EGYPT—What are you doing here? 

MRS. KOMELLO—I am sent by the chief. 

EGYPT—Old Faro?—fi/u sudden terror)—W’htrt is he? 

MRS. KOMELLO—Sweetheart, the devil is eating him. 




32 


EGYPT 


EGYPT—Dead-? 

MRS. KOMELLO— (Piously )—And buried these three months, 
God be praised! 

EGYPT— (Trembling )—And the chief-? 

MRS. KOMELLO—When the father lies under the leaves, the 
son rides on his horses. When the old one’s grave was full we 
scattered our fires and turned our backs upon the setting sun and 
travelled for a hundred days to take our Egypt once more to our 
breaking hearts! 

EGYPT —(In terror) —No—don’t- 

MRS. KOMELLO—You saw the pattern—the thrushel on the 
grass below your windows? 

EGYPT—Yes—1 saw. 

MRS. KOMELLO —He made it when the clouds put out the 
moon. My daughter, why did you not obey his sign and come? 

EGYPT— (Suddenly) —Oh, Pm afraid—I’m afraid!- 

MRS. KOMELLO—There’s nothing to fear. The old dog’s 
dead. A man is waiting for his wedding night—that is my mes¬ 
sage, sweetheart. 

EGYPT—No! 

MRS. KOMELLO—He is your master—he is your rom! 

EGYPT—No, I’ve forgotten him- 

MRS. KOMELLO—A Romany chi forget her dial! 

EGYPT—I’m not a gyps)^—any more! 

MRS. KOMELLO—Sweetheart, you lie! You’re one of us— 
the stars and earth have said it! Quick!—what answer shall I 
take him? 

EGYPT—Tell him, gran-bebee—that I am nothing to him and 
he is nothing to me. Tell him we travelled a short way together, 
but our paths soon led apart. Tell him if he waits—he will wait 
forever. Tell him—I wish him well. 

MRS. KOMELLO— (Grimly )—Could I face a bridegroom with 
words like those? No, sweetheart, you can sav them yourself! 

EGYPT—Me? 

MRS. KOMELLO —(Pointing with her stick) —He’s out there— 
under the stars- 

Egypt —(With a cry )—Out there-! 

MRS. KOMELLO— (Passionately )—And I’ll tell him to come 
and drag you from this house if he tears your arms from your 
body and your hair from your head! 

EGYPT— (Fiercely )—He can’t—they’d kill him first- 

MRS. KOMELLO —(Hobbling swiftly to the door )—He can— 
he will- 

EGYPT —(In sudden terror) —Don’t—for God’s sake— gran- 
bebee — 

MRS. KOMELLO —(At door) —Ah, you may forget us gypsies, 
little sweetheart—but we never forget you—no, we never have and 
we never will, till the sun has set for the very last time and the 
great swallows all- 



EGYPT 


33 


• into the night. Egypt stands for a moment, 

rigtd_ u^ith terror. There is a burst of laughter from the next room 
yr ith a cry she rushes to the door, unlocks and opens it. 
l^he stands clinging to the handle, panting, and finally begins to 
laugh in hysterical relief.) 

EGYPT —(As she opens the door) —Nick! Nick! 

NICK (From within )—All right, I’ll —(He appears smilinq, 
then sees her.) 

E<AYTT—(Controlling herself)—Oh, n-noihmg—(To Nick, who 
helps her tozvards sofa)—I want you to help me. 

NICK— (Quietly )—I will. Sit down while I bring you a glass 
of sherry. 

EGYPT—(Clinging to him)—No, don’t leave me! I want to 
get married now—this very minute. Oh, tell them to get ready—I 
can’t wait any more—I can’t—I can’t - 

(There is an instant's pause, then Faro appaers silently at the 
door.^ He bows politely, but gravely—and then sees Egypt.) 

hARO —(To her commandingly )—Hatch till the dood wells apre. 

EGYPT— (Whispering )—Mi diri Datcha ! 

EARO—Maude rak.tute! 

EGYPT —(As before) —Ave—avali! 

NICK—What’s he saying to you? 

EGYPT—He’s—asking for money. 

NICK—And what did you tell him? 

EGYPT—I—said we never gave at the door. 

EARO—I heard there was a wedding here to-day. I only came 
to wish the bride good luck! 

EGYPT— (Shrilly) —No—no—keep away! 

EARO—Would the gorgio lady from whose mouth the Romany 
words drop like pieces of silver and gold—would she take a present 
from one of the black quarry on her wedding-day? 

EGYPT —(In terror) —Nick, don’t let him- 

FARO—Laugh and be happy in your husband’s arms, my lady, 
and lay this with a gypsy’s blessing on yOur bed \.o-n\gh\.\—(With a 
proud, free gesture he tosses at her the handkerchief she gave him 
in Act I, which, done up in all old piece of newspaper, he has taken 
from an inside pocket.) 

EGYPT—(Shrinking as it falls at her feet)—Oh! Oh! 

XICK— (Harshly, as he comes forward —Natalie—you don’t— 
knozv this nmn?—(There is a pause. Egypt controls herself zmth a 
supreme effort.) 

EG'i’PT —(Looking Faro in the eyes )—I never saw him in my 
life before !—(There is a rumble of thunder in the distance.) 

EA\<0—(Moving a step nearer )—Look in my face, pretty lady 
—look and think again ! 

EG^'PT—What do you mean? 

PAI^O—OE?7/; another step)—Go you smell the brandy, spilt 
where the hres are burning? Do you hear the singing of the mar¬ 
riage song? , , . , 

E.GYPT—(Facing him)—No. 




34 


EGYPT 


FARO—Do you feel the kiss a young chal gave you when he 
said good-bye? 

EGYPT —(Holding her ground)—No. 

(Faro exits. Just here the Sheriff—dressed for action—conies 
in from left, hat in hand.) 

SHERIFF—Sorry to bothah you, stih, but we’ah aftah a gypsy 
man. We saw him come up yo’ drive an’- 

LINDSEY— (Interrupting) —What’s he done? 

SHERIFF—Done? Why, he’s the fellah that killed Jim Harris 
—stabbed him with a six-inch knife in the Alain Street, sah. Jim 
shot him in the arm befo’ he died, but the dam’ snake got away. So 
we made a posse and took the dawgs an’ now we’ah a-goin’ to run 
that mu’derah down if it- 

EGYPT —(Interrupting him and throwing up her hands with a 
cry) —A-ah! 

SHERIFF—Plave you seen him, suh? 

NICK—A tall fellow with black hair and brass earrings? 

SHERIFF—That’s him, suh, was he heah? 

LINDSEY— (Briefly )—Got away through that window not a 
minute ago! 

SHERIFF— (Quickly )—He didn’t leave nothin’ behind we could 
give to the dawgs? Not a hat, nor a piece o’ his clo’es? 

LINDSEY—No, I don’t think- 

NICK —(Interrupting him )—What about that handkerchief he 
threw at Natalie? It came from his inside pocket—over his heart! 

(Egypt seises the handkerchief zvhere it lies before her.) 

SHERIFF —(His eyes on the door )—If you give it to me quick, 
suh, we won’t bothah you no more, 

NICK—Let’s have it, Blanche. 

EGYPT —(Instinctively pressing it to her bosom) —No—no! 

LINDSEY—Come, dear—the Sheriff’s waiting. 

EGYPT— (Desperately) —No, I won’t! 

LINDSEY— (Sternly) —Natalie, I’m speaking to you! 

EGYPT— (Passionately )—I don’t care—it’s mine—it’s mine, 1 
tell you, and I’ll die before I give it to those dogs! 

NICK—You knew him—you knew him all the itme! 

EGYPT— (Terrified) —No—no! God blast me if I ever saw his 
face before to-night! 

NICK —(Holding out his hand )—Then give me that handker¬ 
chief ! 

(Nick takes it and gives it to the Sheriff.) 

SHERIFF—Thanks, ma’am. With this, we’ll have him locked 
up befo’ midnight, sho ’!—(To one of his deputies) —Tom, fetch 
round the dawgs from that side of the house. (To his men )—Come 
on —(Just here the two ushers ENTER from back.) 

HARRY STREET —(Calling doivn )—All ready? The music’s 
waiting for the signal —(Seeing the Sheriff and his men run out 
right) —Why—what’s wrong? 

NICK— (Hurriedly) —Nothing. Just wait a second, please, till 
I get on my job. 



EGYPT 


35 


(He EXITS quickly left. The two ushers pick up the piles of 
white ribbon lying on the steps at back and, holding them over one 
arm, ipizvind thejn as they disappear into the rooms beyond. The 
electric light pours through the open doors and, with the ribbons, 
gives the illusion of an aisle. Meanwhile.) 

AlARY— (To Egypt, quietly) —Stand up, dear, quick—I have 
just time to fix your veil. (She raises Egypt to her feet and lowers 
the veil over her face.) 

ROSIE— (To Egypt) —Now don’t move—I’ll arrange your train. 

ANITA— (Giving her, her bride's bouquet) —Here are your 
fiowers, dear—have you got them? You must hold them so! (The 
bridesmaids have gathered tenderly and busily about her.) 

LINDSEY— (Buttoning his glove) —Now, little daughter- 

(Harry nods to the musicians inside the room at back. The hum 
of voices beyond stops suddenly. Outside it grows very black. The 
wedding march begins.) 

EGYPT —(More loudly )—I don’t want to be married—I won’t 

be married—I won’t—I won’t- (She drops her bouquet to the 

floor and is turning away when her father seizes her.) 

LINDSEY— (IVhiskering vehemently to Harry and Clip) — 
Come! 

(.lust as the procession, galvanised to action, starts sloivly to¬ 
wards the door at back, there is a flash of lightning at the windows, 
followed by a loud clap of thunder, dying azvay and lost 'mid omi¬ 
nous rumblings.) 

EGXTT—(Hysterically, as she struggles to get Stop^ it! 

_let me go ! Please—daddy, don’t make me marry him—don’t— 

Oh. don't, for the love of God! 

(Her voice rises to a howl—he puts his hand over her mouth 
and almost drags her along tozuards the steps at back as the curtain 


swiftly falls.) 


CURTAIN. 




36 


EGYPT 


Act 3 


SCENE. 

Mrs. Van Kleet’s sitting room in her husband’s house—“The 
Crossways.” It is luxurious and beautiful, and complete. To back- 
centre, up two steps is a large triple window with elaborate lace- 
end-satin curtains now drawn. To right, very far down, is a door 
leading into Nick’s room. To left of window, across the corner 
of the room, is the low dressing table covered with gold boxes, etc., 
lighted by side brackets, a chair before it. On left wall, just below 
this, a door opens off into, the dressing-room and bath. Below this 
the fire-place, with elaborate clock and ornaments. Before the fire¬ 
place, near front, is the door to hall and rest of house. The electric 
lamps are all turned on. A soft, warm light suffuses the room. 
Outside occasional mutters of thunder are heard. The storm brew¬ 
ing in the last act is about to break. 

As the curtain rises, Louise, Egypt’s trim, careful maid, is taking 
some things from a trunk placed at right—between bed and door. 
She is also unpacking two bags. There is a traveling dress thrown 
over a chair, a big hat on the table, etc. Below a woman’s voice is 
heard singing to a piano accompaniment. 

Just after the curtain has risen there is a knock at door—left— 
and it immediately opens. A rather pretty house-maid backs in. 
holding open the door for someone else. 

HOUSEMAID—That’s right—come along. (Turning and see¬ 
ing Louise) —Oh, it’s you, miss! The footmen’s just bringing in the 
supper table—if you don’t mind. ^ 

(Two footmen appear, carrying a small supper table. They put 
it down carefully, bring in several dishes—a chafing dish among 
them—for outside and put them all on the table.) 

LOUISE—Did Miss Natalie—Mrs. Van Kleet, I mean- 

HOUSEMAID— (Interrupting) —No, it was Mr. Van Kleet or¬ 
dered it. They’ll be up right away. Mr. Wenham—he’s the butler 
—says she never ate a single mite o’ dinner ! I expect he’ll coax her 
later on himself. O’ course being married does sort o’ take your 
appetite away!— (To the footman) —Put it down there, by the fire. 
(Turning again to Louise) —Kind o’ nervous, is she, to-night,? 

LOUISE— (Shaking out a skirt, and speaking discreetly)—fusi 
a little. 

HOUSEMAID—It’s always hard coming to a strange place, / 
think—let alone as a bride. That’s why he had a fire burning, and 
all the flowers, and magazines and poetry books—he spent two hours 
a-choosing ’em himself!— (To the footman) —Don’t forget the cham¬ 
pagne, now, or you’ll catch it good! 

FOOTMAN— (Loftily) —Miss Trotter, I’m not in the ’abit of 
forgetting!— (To Lo^A^J-^Good-night, Miss. 



EGYPT 


37 


My^-Oh, good-night. (The footmen go 
Lord! How I hate an 

Englishman Is that her singing downstairs? 

^ moment)~Yes, that’s her. 

llUUbJiMAlD—I 11 open the window for a minute—the music- 
rooms just underneath. 

LOUISE—What was this before he did it over? 

A library. You wouldn’t believe it—would 
you.^ opened the window and the singing is heard more dis- 

tihctly) —Sounds sort o’ gay down there! 

LOUISE—She likes it gay. 

HOUSEMAID— (As the song ends, amid a growl of thunder )— 
Listen to that! It’s going to be an awful night! (Turning to the 
dressing table) Oh, there’s the gold toilet set he had a-waiting for 
her! Wasn’t that grand of him? 

LOUISE—He certainly is very kind and thoughtful. (She takes 
out a night-gozun case from the bag.) 

HOUSEMAID— (Coming up) —Is that her night-gown? Let 
me look. (Examining fD—Oh—oh! Goodness! How thin! I 
don’t see how it holds up the embroidery! (She goes to the door 
and returns with a bucket containing ice and a bottle of champagne, 
zohich she puts beside the table.) 

LOUISE— (Proudly) —Direct from Paris—like everything else. 
(She puts it on the bed) —Beautiful sheets you have here! 


HOUSEMAID—He’s that particular about his linen. (As 
Louise picks up the dress and hat, and goes towards door — right)— 
Wait—where are you going? That’s his room! Her closets are all 
in there—between the dressing-room and bath. The light turns on 
by itself as you open the door. (She points to. second door — left.) 

LOUISE— (Going out) —Thanks—I’ll get it straight in time. 

(The housemaid, humming a little tune, has placed a silver vase 
of flozvers on the table and is lighting the candles as Nick, dressed 
in a dinner jacket, opens the door — left—and holds it for Egypt.) 

NICK— (To Egypt — outside) —This way,, my dear. (Looking 
at his watch) —Good Lord! It’s half-past eleven! (Egypt comes in 
slowly. She is in evening dress, is rather pale and tries hard not to 
seem nervous.) 


EGYPT— (Hanging back at the door) —That’s early, Nick! 
Come on, let’s go downstairs—I’ll sing to vou some more! 

NICK—(Smiling) —I’ve had enough, for once—young nightin¬ 
gale ! 

HOUSEMAID—I beg nardon, sir—shall I onen the champagne? 
NICK—No, I’ll do that. Good-night. And take away some of 
these flowers. They make a sleeping-room so close. 

HOUSEMAID— him)—Nery well, sir. Good-night. 
(To Egypt as she passes her)—I beg pardon, madam. (She goes out 
— left. Again it thunders.) 



38 


EGYPT 


EGYPT—Listen to the thunder! Oh, Nick, I’ll tell you what 
we’ll do—we’ll go out for a long, long walk, and—and hunt for 
mushrooms ! 

NICK— (i^aughing )—We won’t do anything of the sort I Come 
in and shut that door. (As she closes it, Louise re-enters from 
dressing-room — left.) 

LOUISE —(Seeing them) —Oh, I beg your pardon, miss! I’ve 
just been putting away your suit. I don’t suppose you’ll need me 
any more? 

EGYPT —(Almost running over to hear and taking her arm as 
if for protection) —Oh, yes, I will! You mustn’t go, Louise—don’t 
—not now! (Her tone is more of an entreaty than order.) 

NICK —(Bantering her playfully, yet tenderly) —Oh, I don’t 
think we ought to keep Louise up any longer. Can’t you trust a 
mere husband to unhook your dress? Give him a chance to be 
useful—the sooner you break him in, the better! (To Louise, in a 
lower tone) —That’ll do, Louise, you can go. 

LOUISE— (Smiling) —Good-night, sir. (To Egypt) —Good¬ 
night, Miss Natalie—I mean—shall I bring up your tea at eight? 

KUCK —(Answering for Egypt) —Yes—that’ll be time enough. 
The train goes at ten-five. 

EGYPT— (Instinctively )—Louise !- 

LOUISE —(At door) —Good-night. (She goes out quietly. Egypt 
turns and goes to the windoiv where she stands looking out.) 

NICK—I suppose the rest of your trunks are downstairs? We 
don’t want them to be late and miss connections with the New York 
boat! (She does not move )—A penny for your thoughts, my dear. 

EGYPT —(Without turning )—I wonder if they’ve caught that 
gypsy yet! (There is another and louder rumble of thunder.) 

NICK —(Going to her and putting his arm about her waist )—I 
don’t know—and I really don’t much care! Come and have a bite 
of supper and a glass of champagne—just to please me! If you 
don’t you’ll starve—and I’d hate to lose my wife just now! 

EGYPT—I’m—I’m not hungry, Nick. 

NICK— (Gaily )—You sit down here and open your mouth and 
swallow everything I give you—understand? (He puts her in a 
chair facing right, towards window. Then looks about among the 
dishes) —Let’s see what’s in the chafing dish! (Opens it) —Ah! 
Sweetbreads Magyar! I bought the recipe from the cook at a tiny 
inn near Budapesth. She always mashed the potatoes with her big, 
bare feet—that adds a fe ne sais qiioi that my chef never can achieve' 
Now for the fizz! (He begins opening it in a practical manner )— 
This is Ponbelle d’Or, ’93. My last bottle, too. I’ve been saving 
it for a time like this. (Filling her glass )—I always love to pour 
champagne—it’s the Fountain of Youth—or all that’s left of it, I 
fear! Now what shall our first toast be? (He stands opposite her, 
holding his glass and smiling )—I know! The little beggar that’s 
hiding in this room to-night. Stand up and drink to him, my dear! 

EGYPT —(Rising obediently) —Who’s that? 



EGYPT 


39 


an,l Who could it be but Love? Just listen- 

and you II hear the beating of his wings! (They stand with glasses 
laxsed — motionless.) 

(Suddenly)— that outside? Wait—there it is 

again. 

, Only the calls of the quail, I think— 

wly Natalie. What is it? (She has dropped her glass with a 
crash and staggers suddenly.) 

EGYPT (Controlling herself) —N-nothing — nothing at all. 
Give me your glass ! (She takes it)—To love, Nick—to our love! 
(ohe drinks, then shivers) —Plow cold it is! 

Shall I put another stick of driftwood on the fire? 

EGYPT No—it’s just the wine, I’m all right now. 1 want some 
salad, dear, and—are those trulles there? 

nick —(Serving her) —Yes—a little pate, too? 

EGYPT— (Greedily) —Oh, lots of it! I’m hungry now. How 
nice of you to think of supper here ! 

NICK— (Smiling) —I thought you’d change your mind! 

EGYPT— (Gaily and nervously) —Sit down and eat something 

yourself. Now!- (Impulsively) —Oh, Nick—do you realize that 

we’re married f 


NICK—I’m doing mv best, but—well, it does seem a little queer! 

EGYPT—It’s sweet—that’s what it is! Oh, Nick, I’ve thought 
of such a funny thing! (She looks at him.) 

NICK—Well, aren’t you going to let me in? 

EG^'PT—W'^ouldn’t it be a joke if he were out there somewhere 
—near our house? 

NICK—HE?- 

EGYPT—That gypsy—stupid! 

NICK— (Disappointed) —Oh, Lord ! 

EGYPT—WYll, we’re only ten miles from the Bungalow. And 
he’s been running—running seven hours ! 

NICK—They’ve probably caught him long ago. That hand¬ 
kerchief of yours was just the thing they needed. A little more 
champagne, my dear? 

EGYPT —(Holding her glass )—But wouldn’t it be funny if he 
were in the garden now—watching the light here in our window- 
wondering what we were doing? (Taking away her glass) —That’s 
enough, Nick—please! 

NICK —(Looking at her steadily )—Poor devil—out there in the 
night and storm—while you and I —(He suddenly seizes her hand, 
which lies on the table. She drazvs it quickly azvay.) 

EGYPT —(Toying with her glass )—Do you know, Nick. I have 
a feeling that all the gypsy wilderness in my heart will die the day 
that murderer is hanged! 

]\TfCK— (Drily) —Don’t bother, dear—it won’t! 

EGYPT— (Whispering) —And then—and only then. I’ll be all 

yours, Nick—all yours, my body and my soul! 

XJCK —(In a lozv voice, looking at her coldly )—Little wife—! 
(He rouses himself with an effort)—Y[dt\t you had enough salad? 



40 


EGYPT 


Another truffle? (Looking at his watch and rising )—By Jove, it’s 
nearly twelve! You’re looking tired, my dear—it’s time you were 
in bed. You’ve had a long, hard day, (He blows out the candle 
on the table.) 

EGYPT —(Rising and shrinking )—But I’m not sleepy, Nick—I— 
I want to look at all those magazines—I want to finish a story—I 
want—I- 

NICK —(With a tender little laugh )—Come along—and I’ll un¬ 
hook your dress before I go into my room. 

RGYVi:—(Hesitatingly)— Nick—I- 

NICK— (Smiling) —Don’t be afraid, dear—I won’t eat you. 
(She comes up to him slowly, but obediently, and turns her back. 
He bends down to examine the dress )—Now let me see. (He sniffs 
at her) —U-um ! What perfume do you use? 

EGYPT—I don’t know. Louise buys it—I just pour it on. 

NICK —(Busy with the hooks) —I’m blest if I can find a single 
—oh, there they are, all nicely covered up. Now—take a big breath 
and hold it till I say “Let Go!” 

EGYPT—That right? 

NICK—Yes, now keep it up. Oh, damn ! I tore one off—I’m 
sorry! 

EGYPT— (Gasping )—I can’t- (Breathing )—I couldn’t hold it 

any more! I’ll try again. (She takes another breath.) 

NICK —(Very busy )—Just a moment—we’re on the home stretch 
—it’s all right. (Slight pause) —There! I think I’ll have to raise 
Louise’s wages. (The dress falls about her feet, leaving her arms 
and shoulders bare.) 

EGYPT —(Stepping out of it )—Thank you, Nick, I- (He 

seizes her from behind in a gust of passion and holds her to him, his 
face buried against her shoulder. She cries and struggles to get 
away) —Oh, don’t —please - 

NICK —(Controlling himself quickly and letting her go )—Did 
I frighten you? I beg your pardon, dear. 

EGYPT —(Still trembling) —It’s all right—only- 

NICK —(Who is breathing rather quickly )—Do you want that 
window closed? I’m afraid the rain may come in later. 

EGYPT —(Her nerves jangled) —No, leave it open. If you 
don’t I’ll suffocate. 

NICK—All right. (Looking about room )—You have everything 
you want? You’re sure? 

EGY PT—Yes—everything- 

NICK— (I'Try matter-of-fact )—Then hurry up, my dear—don’t 
dawdle. (He is at his door — right.) 

EGYPT—(Piteously)—Oh, Nick! - 

NICK— (Turning )—What is it? 

EGYPT —(After a moment )—Nothing- 

NICK— (Smiling)—An revoir! 

(He goes to his room and closes the door. She looks after him 
for a moment. Then, with a gesture of despair turns off the lights. 
The fire-light—all blue and red green—flickers fitfully about the 



EGYPT 


41 


room. Big shadows hover across the walls and ceiling. Egypt is 
vaguely seen moving about. At last she emerges from behind the 
bed in her long, thin nightgown, through which the outline of her 
form can occasionally be seen. .She stands by the fire, taking out the 
pins from her hair—it falls over her shoulders, she begins to braid 
it for the night. Suddenly, from the silence outside, comes a long 
ivailing bird-call. She stops as if petrified. It is heard again. She 
turns, goes softly to the zvindoiu, and looks out fearfully. There is 
a silence. Then quickly she pulls down the zvindozv, draws the cur¬ 
tains, rushes over to the fire-place and falls on her knees.) 

EGYPT— (In a low voice of hatred and fear) —“As I prick my 
finger, I curse a nameless man. As the first drop falls, his feet 
grow very tired ! As the second follows his blood runs very low! 
When a third has gone, his heart will beat no more. Boil, blood!— 
die man! Take him. Devil—for the charm is done!” 

(As she finishes, the storm outside breaks at last, her voice rises 
to a scream, there is a long shiver of lightning betzueen the folds of 
the curtains, a rig of thunder and then Faro pushes aside the lace 
hangings and enters from the shattered zuindow. The rain falls, the 
curtains are blown in, a chair is overturned. Faro is in the last 
stages of exhaustion—his face is livid, his eyes wild, his clothing is 
torn and muddy. Egypt turns, sees him, springs to her feet, and 
crouches against the zvall. The lightning and thunder continues 
furiously through the first part of the following scene.) 

EGYPT—Go away—go away-— 

FARO—(Holding on^ to the chair for support and panting 
heavilx) —Egypt—for God’s sake- 

FOYRT—(Coming forzvard)—T\\& dogs—d’you know they re 


after you? 

FARO—Yes—I know- 

EGYPT—Then why have you come here? 

FARO—J love you- 

EGYPT— No—keep away— don t come near me! 
ir^RO-ff'FR/? a groan)—Fi^^in of my heart—where are you— 

1 can’t_ (He falls fainting at her feet. She, terrified, listens at 

Nick’s door a moment, hesitates, finally kneels by him and raises his 

^'^^^^FGYRT—(Softly and quickly)—Farol (He does not answer.) 
Paro—Faro !—f/>i stidden terror)—Oh, dear God! (She bends her 
head and listens to his heart, then quickly rises, goes to the table, 
pours out a glass of champagne, kneels and makes him drink.) 
EGYPT—There—drink that! . 

FARO—(Slowly recovering consciousness, then starting sud¬ 
denly) The dogs— thev’re on me—T must cross the river—quick! 

God!—1 can’t—I criO'.—(S truggling to rFe)—Yes, just to see 
voil is like brandy in mv mouth! (He reels suddenly)—A-Rh . 
EGYPT—What is it? , . , • , 

Y:\\iO—(Steadying himself)—V \q had no food since dawn. 

EGYPT_ (Pointing to the table )—Go there and eat. 

FARO— Where? (Sees the table and makes for it.) 



42 


EGYPT 


f 

EGYPT— (Nervously )—But hurry—you’ve no time to lose! 
Just take what you need and go! (He sits where she sat before and 
eats with his fingers, like an animal, tossing up his jaws—drinking 
champagne from the bottle, etc. As he eats and drinks his strength 
and spirits rise. She is listening again at Nick’s door.) 

FARO —(Gloating over her as he eats) —You’ve changed, sweet¬ 
heart—you’ve grown white and soft! Your face is like the ashes 
of a fire that’s gone— (Thickly )—But what do I care? You’re my 
wild bird still! Maduvaleste—maude rake tute ! 

EGYPT— (Terrified )—Be quiet—don’t talk so loud! 

FARO—I cut the pattern three times below your window—and 
when you never came I think my heart beat slow. I sent the old 
one with a message, but you never bowed your head—and my flesh 
shook! Down there—among the gorgios—you looked me in the 
eyes and lied—but I understood ! The}^ were between us—listening. 
And yet my blood turned cold. It’s cold now—Egypt—Egypt, let 
me warm it on your burning breast. (He has risen and now comes 
towards her.) 

EG Y PT—No—don’t— 

P'ARO —(Swaying a little as he walks )—The old dog’s dead! A 
man is waiting for his wedding night- 

EGYPT —(Pointing with sudden fierceness to the door of Nick’s 
room )—I know ! He’s there. So go away before he comes in to 
his bride! • 

FARO—I’m going—and vou’re going with me! Look—the 
storm is with us! See how it flames. There’s blood in the sky 
to-night. 

EGYPT —(Looking at him )—All I see, Faro Black, is the blood 
upon your guilty hands! 

FARO—Quick, little rawnie! The rain’s ending and we need 
it to wash away our scent! We’ll climb down the vine—it’s good 
and thick—we’ll be in camp when the moon comes out—these coun¬ 
try police, they can find their mouths when they drink whiskey, but 
they never can find I’m waiting! Come! Why don’t you come? 

; EGYPT—You fool, can’t you see? I’ve forgotten you—I’ve 
forgotten you ever lived! You’ve passed out of my mind like 

dreams at waking—yes, like ghosts at dawn- 

, - FARO —(Interrupting loudly)—Egypt - 

EGYPT —(Looking quickly at Nick’s door) —S-sh ! (Then with 
concentrated scorn )—What name is that? 

FARO—It’s the name we’ve always called you by. You’ll hear 
it last in the mouth of Death himself. 

EGYPT— (Contemptuously) —I’m not a gynsy—any more. 

FARO—That’s a lie—hunkni—you’ll be whipped for it to-mor¬ 
row until you howl for mercy. You’re a Romany chi—you’re my 
wife—married to me four years ago by Romany law- 

EGYPT— (Laughing) —Married! Why, I’ve never seen you in 
my life before to-night —(Through her teeth) —You’re just a tramp— 
a common tramp who’s broken into my room—a dirty animal who 
stabs men in saloons- 



EGYPT 43 


fiercely )—He said it was your wedding 
day. He laughed and took another drink and swore he’d like to 
teach you how to love! And then I caught him in the belly with my 
knife—hell never say such words again! 

EG\ PT \ou dirty, murdering beast, you! I’ll call my husband 
—he 11 get the servant and hold you till the dogs have come! (She 
turns toward Nick’s door.) 

FARO— (Jeering) —That’s right—go call him, sweetheart! Tell 
him you re ready for the wedding bed—and when he’s closed that 
door, stand back and watch me kill him! 

EGYPT —(Beating her hands together in an agony of invoca¬ 
tion) —God ! Come down—come down ! Ride down on the storm 
and suck the black blood from his rotten heart! (She throw's herself 
on the conch in an agony of tears.) 

FAliO—(At the windozv )—The wind’s gone. The rain’s over. 
God shuts his ears to women on their wedding-nights! (He turns, 
sees her attitude of despair, and a sudden wave of tenderness sweeps 
over him. At first he stands above her, then raises her, and at last 
gently holds her in his arms. During this scene the storm ceases 
wholly. The moonlight is seen outside and gradually filters into the 
room, filling it with an unearthly radiance.) 

FARO— (Continuing) —Listen, little sweetheart! I know a 
place where the brook widens out into the deep, black pool. There’s 
where we’ll dive and swim together—yon and I—and wash off every 
gorgio memory that sticks to your beautiful brown body—there’s 
where we’ll find love, floating like a red flower upon the water—and 
I’ll break it against your mouth and a smell like the smell of a mil¬ 
lion blossoming grapes will turn your blood to ice and fire, and 
then I’ll build you the bed of moon-flowers in a jasmine thicket 
under the pities—and, oh ! your soul will melt like wax in the heart 
of it— (In a paroxysm of passion) —Little rawnie—little darling—I’ve 
waited—I’ve starved for four whole years— four years! Oh, God, 
for all my life—and now—our wedding night— it's here! 

(He seizes her in his arms and kisses her. A long, almost ter¬ 
rible embrace. The door at right opens and Nick appears in his 
dressing gown and slippers. He stands for a moment and then turns 
on the lights. Faro and Egypt do not move.) 

NICK— (At last) — Natalie! 

FARO— (Raising his head) —She’s mine now, d’you hear? She’s 
mine! Y'ou bought her from me on our wedding day—you’d have 
kept her forever, and clipped her and tamed her and bled her—I 
know that! Rut you’ve lost her now ! I’ve got her and I’ll never 
let her go! 

XICK— (P’cry sternly) —I’ll give you until I count ten to drop 
my wife and climb out that window, and if you’re not gone then, 

I’fl- 

FARO—Well—what’ll you do? 

(Coolly producing his revolver)—V\\ empty all six 
chambers into your head, so help me God ! 

EGYPT—Faro—his pistol!- 




44 


EGYPT 


FARO— (Bullying )—Move along there! 

NICK —( Counting) —One—two—three- 

FARO—You’d better look out I I’ve killed one man to-day! 

NICK—Four—five—six—seven- 

FARO —(Between his teeth )—All right—come, you- (He 

suddenly drops Egypt and springs at Nick like a cat, knocking tip 
his hand. The pistol goes off—and the tzvo men are seen struggling 
frantically all over the room. Egypt follows them, terrified. A 
pause, during which they fight.) 

EGYPT—Don’t kill him, please—he’s been very good to me! 

(As she speaks the whole posse is heard sweeping round the 
corner of the house. Yelping of dogs, meNs voices, horses’ hoofs, 
cracks of whip, etc. The red light of the torches flicker on the ceil¬ 
ing of the room. The following voices are heard speaking almost 
together.) 

NICK— (Calling) —Oh, Woodward, is that you? 

SHERIFF—Yes, suh. Sorry to- 

NICK— (Interrupting )—Wait just a minute. You’re looking 
for a gypsy. Well, he’s- 

EGYPT —(Seising him) —Nick—don’t tell them—don’t for God’s 
sake! 

NICK —(To her )—Why not? (Calling down )—That gypsy- 

EGYPT— (Desperately, speaking in a low, quick voice) —No, 
wait until you’ve heard me—Nick, you’ve got to wait! You must 
do something for me now—you must do it quick—you must help 
him get away —(Before he can interrupt) —S-sh ! Don’t say a word 
until I’ve finished—I’ll never forget that- 

NICK —(Interrupting harshly )—You love him! 

EGYPT —(Always holding him, always desperately) —Yes, I 
love him—that’s it, Nick, I love him—I’m sorry I love him, but I 
can’t help it- 

NICK—Then why in God’s name are you asking me to help 
him? (Calling down) —Woodward—I- 

SHERIFF— (Below) —Yes, suh. Have you seen him? 

EGYPT —(Before Nick can answer )—If you let him get away 
this once, I won’t go with him, Nick—I’ll stay here all my life—I’ll 
make you as good a wife as I possibly can—I’ll do my best—you’ll 
never be sorry—you’ll never regret it- 

NICK—And if I don’t? . 

EGYPT—If you don’t and they get him—why, I’ll kill myself 
the day he’s hanged—that’s all. 

NICK—You won’t run after him? 

EGYPT—I won’t run after him. 

NICK—You’ll stay with me? 

EGYPT—I’ll stay here with you. 

NICK—For the rest of your life? 

EGYPT—Yes, for the rest of my life! (Slight pause.) 

NICK— (Harshly) —You’re lying. You’re going to fool me! 

EGYPT —(In shrill agony —No, I’m not—I swear it—/ 
swear it! 



EGYPT 


45 


NICK—How do I know? 

(Raising her eyes and holding tip her hands )—Mav 
the good God damn me forever if I break my word ! (Slight pause') 

NICK—All right, ril do it! 

EG\ PT (Breaking down) —God bless yon—oh, God bless yon! 
(^he tries to kiss his hands — fidget.) 

EGYPT—Wait—he’s coming—there ! He’s talking to the 
Sheriff, (There is a confused sound of voices from belozu —They’re 
taking off the dogs—no. wait! Get back, they’ll see yon—I’ll tell 

yon when- (1 he lights, voices, dogs, etc., die away suddenly as 

they came.) They’re all inside—they’re on the stairs—now jump. 
Earo—and good-bye! 

FARO —(At the window )—Good-bye? You’re coming, too. 

EGYPT— (Drawing back )—No—no ! 

FARO—Yon love me? 

EGYPT—I’ve sworn an oath- 

FARO —(His arm about her) —Yon love me, little sweetheart— 
come! 

EGYPT —(Drawing away )—I can’t—here take your dime. (She 
removes it from her neck and gives it to him) —and gives it to an¬ 
other chi—she’ll cook yonr food and mend yonr clothes—she’ll 
teach my children how to call her “Mother,” she’ll make yon happy, 

Faro—you’ll forget me when she puts her first son in yonr arms- 

(With abandon )—And so good kick to yon! Good-bye— good-bye! 

(She throws her arms about his neck. A long kiss. There is 
the rush of heavy feet outside at left, voices, etc. The knob of the 
door is turned and found locked. There is a violent knocking.) 

ANOTHER VOICE—Break it in! 

ANOTHER—Get yo’ shonldah theah ! 

ANOTHER—All togethah—now! —(They attack the door. Faro 
flings Egvpt to the ground and rushes to the window.) 

EGYPT—Wait- 

FARO —(Outside the window with a cry of hope )—Egypt! 

EGYPT —(Beside herself )—I’m coming, Faro—I’m a g\psy, and 
damn it! / don't care! 

(She slips off her robe and, rushing to the window, flings her¬ 
self into Faro’s arms. They disappear together, just as the door 
gives zuay- Hick, the Sheriff and all his posse burst into the empty 
room, as the curtain falls.) 




46 


EGYPT 


Act 4 

SCENE. 


Six years later. 

The road. At extreme right—next to footlights is a big elm. 
Its branches frame the scene on that side of stage. From behind 
this elm, at right, comes the dusty, yellow road. .= It turns sharply 
towards right again at the centre of the stage and is lost to view 
behind a hedge of hazel-nut bushes. Then it is seen again, a little 
beyond, until it disappears over the crest of a low hill. Still fur¬ 
ther, on the other side of the valley, it appears once more, and—like 
a narrow white ribbon—goes over the top of the distant hills. 

To left-back is a field dotted with newly made cornstalks. 
A wooden fence separates it from the road, and a gate faces the 
audience—left-centre. Behind the hazel-bushes, on the opposite side 
of the road from this field, is another, in which the tall wheat has 
not yet been cut. At left-front is the roadside, covered with grass 
and goldenrod, shelving down a little, as though the foot-lights 
were the ditch. It is late summer. There is a slight haze in the 
air. The eastern sky is pale and beautiful in the afterglow of the 
setting sun. To right-centre—in the road, and facing towards right 
—is a big touring-car, a little dusty, but very elaborate. It has 
evidently just broken down. Nick is sitting in the tonneau. He 
looks much older than in the preceding actshe wears a motoring 
coat and cap and gloves. The chauffeur is outside, examining the 
machinery of the car. 

NICK— (Looking down at the chauffeur) —What’s the matter, 
Davis ? 

CHAUFFEUR— (Still examining) —Something wrong with the 
connection, sir. A short-circuit, I think, but I’m not quite sure. 

NICK—How long will it take to repair? 

CHAUFFEUR—About ten minutes, sir, if I had another man 
to crank while I worked. 

NICK— (Getting out) —I suppose I can do that! 

CHAUFFEUR— (Embarrassed) —Oh, sir, I couldn’t ask you! 
It’s apt to strain the shoulder! 

NICK— (Annoyed) —Well, it’s got to be done, and there’s not 
a farm-house within a mile. So I— (He stops to listen, as the 
sound of a man’s voice is heard singing on the road at right, 
grozmng nearer) —What’s that? 

CHAUFFEUR— (Running towards right and looking off) —It’s 
some fellow in a cart, sir. I’ll get him! 

'HICK—(Lighting a cigarette)—AW right, but hurry it up—I’ve 
got to be in town by eight. I have a dinner engagement. 

CHAUFFEUR—Very good. sir. He’s just here.— (The carl 
slozcly appears. It is old and dilapidated—once gaily painted, but 



EGYPT 


47 


now shabby^ it is drawn by a well-cared-for little horse. The back 
of it is filled with bundles, pots and pans, etc. The front and only 
seat is occupied by Faro, driving, his little son, and Egypt, holding 
a baby in her lap done up in on old shawl. Faro has grown 
stouter and more commonplace. He is dressed with less of an eye 
for effect. The little boy has a brozvn face and is very serious 
and quiet. Egypt is less picturesque than in Act /— Older, wearier, 
and gentler. The Chauffeur calling rather pre-emptorily) —Wait 
there! —(Earo drives stolidly on towards the bend of the road. 
Running after him) —Stop, my man I Don’t yon hear me calling 
yon?— (Earo halts his horse and turns over his shoulder to look at 
the chauffeur. Egypt neither turns nor seems to hear. Coming up 
beside the cart )—Do yon want to earn a quarter? 

FARO—Yes, yonr honor. 

CHAUFFEUR—Well, then—come and crank this car for fifteen 
minutes. Yon know how to crank, don’t yon? 

FARO—Yonr honor, I can learn. 

CHAUFFEUR— (Irritably) —Then get a move on! The gen¬ 
tleman’s in a hurry for his dinner. 

FARO —(To his little son )—Here, yon take the reins! Look 
sharp now and don’t yon dare let go! —(The little boy silently 
obeys him. Faro jumps down, hitches up his ragged trousers, rubs 
his hands, and turns to the chauffeur) —Ready, yonr honor. 

CHAUFFEUR —(Going tozvards the car) —Come along, then.— 
(Faro follows him. They go to the machine, where the chauffeur 
is seen to direct Faro. The latter begins cranking the car. They 
both zvork during the following scene.) 

(MeanzAiile Egypt has occupied herself contentedly enough ztnth 
her baby. She is humming to it the same little lullaby she sang 
in Act. I.) 

EGYPT —(Crooning and singing )—My Egypt sleeps—she falls 
asleep—my little dear—my girl will sleep—she’ll sleeo—sleep-- 

(During the dialogue betzveen Faro and the Chauffeur, Nick 
has stared at Egypt. Nozv he comes slozvly to the cart, tosses away 
his cigarette, takes off his hat, and speaks to her very politely.) 

NICK— (Gravely) —T beg yonr pardon. 

EGYPT— (Not recognizing him) —Yes, yonr honor? 

NICK—Can yon tell my fortune? 

EGYPT— (Simply) —Indeed I can. yonr honor, I- 

(She stops suddenly and looks at him. There is a .silence. As 
they wait thus, motionless, the chauffeur’s voice is heard front 
across the road.) 

CHAUFFEUR —(To Faro) —Well, go on—what are yon wait¬ 
ing for?— (Faro, bending in front of the car, mutters something 
unintelligible .)—All right—now we’ll try her once more! 

NICK— (Moving and speaking) —May T help yon? 

EGYPT— (Faintly )—Thank yon— I—(She carefully puts down 
the baby, then turns and jumps dozvn herself easily.) 



48 


EGYPT 


NICK—Suppose we sit down here by the side of the road?— 
(He selects a place )—Then we can watch the sunset while we talk. 
Wait—I’ll just take away that thistle !—(He breaks it off and tosses 
it to one side )—There you are !—(She sits down silently and 
nervously. Nick seating himself rather awkwardly beside her, with 
a sudden intake of breath.) —A-ah! My rheumatism again! It 
catches me now whenever I —(He stops.) 

EGYPT—rS'/fy/y;—I’m sorry. 

NICK—Thanks .—(The western glozv falls upon their faces )^— 
Well, there’s my palm !—(He gives her his outstretched hand. She 
takes it, but looks into his face. There is a pause.) —What’s the 
matter? Aren’t you going to read it ?—(She looks dozun at his 
hand.) 

EGYPT —(Timidly and azvkwardly )—A long life, your honor— 
and many journeys—those are in the wrinkles of your thumb—and— 
and —(Breaking off )—I can’t see. The night’s falling. It’s get¬ 
ting dark. 

NICK —(Bending towards her) —Won’t you tell me something 
more? try! 

EGYPT —(Looking him in the eyes) —You’re a good man—kind 
to poor people, like us gypsies—and—you —(She stops, unable to 
go on.) 

NICK— (Encouragingly) —That’s right! Tell me all you know! 

EGYPT—You were born lucky—with a gold piece in your 
mouth, we gypsies call it. God gave you everything he could— 
health and wealth and mind and heart and soul. You started on 
your way when the sun was shining, and.it’s led you through the 
corn-fields and the meadows of tall hay. All the flowers blossomed 
l)eside it—you only had to bend and pick them as you walked along. 
And the wind blew and sometimes \'OU could catch a glimpse of 
mountains and the sea beyond. Your honor, it’s an easy road 
you’ve followed—a heautiful, easy road ! 

NICK— (Lightly )—And where will it take me, Egyptian 
sorceress ? 

EGYPT— (Slozvly )—Wherever you meant to go.— (Pause.) 

NICK—I wish I’d known that when I started. 

EGYPT— (Eagerly )—Your honor, it’s not too late! It never 
is too late! 

NICK—Perhaps not—but I’m getting rather tired.— (Suddenly) 
—Why—something dropped on my hand ! You’re—you’re not 
crying, are you ? 

EGYPT—It—it was only a drop of dew from the heavens above 
us- 

NICK —(Putting his hand on her shoulder) —Natalie—Natalie, 
don’t cry. 

(The baby cries in the cart.) 

EGYPT— (Quickly) —There’s my smallest—("//a// zvhispering, 
half calling) —S-sh! be cpiiet now—I tell you !—(The baby cries 
again—with shy, triumphant pride )—to the voice of her! 
And she only three months old ! 



EGYPT 


49 


NWonderful! 

EGYPT—Would—would your honor like to see her? 

NICK—Indeed I should—though Pm not much good with 
babies. 

EGYPT— (Importantly) —Wait !—(She goes to the cart and 
gathers up the baby in the shawl. Holding the child and showing 
it to him .)—Look there—“just look at her! 

NICK —(Bending over, aivkivardly) —Yes—yes—very nice in¬ 
deed. Er—what’s its name. 

EGYPT— (Smiling) —Egypt. It was my husband who called 
her that! 

NICK—Funny little things !—(He pokes at it, gently, with one 
finger )—By Jove, it—it really looks like you! 

EGYPT— (Proudly)—I think she has her father’s e3^es ! 

NICK —(To the baby)— sphinx !—(Looking up )—Are 
these two all you’ve got? 

EGYPT—Oh, no—no, I— (Suddenly) —Look! She’s smiling at 
you!— (Running )—I have three more, with gran-bebee at the camp. 
There’s Lancelot—he’s four in October—and Jasper, he’s three— 
and little Nick- 

NICK— (Interrupting) — What? 

EGYPT— (Timidly )—Little Nick. You don’t mind, sir, do you? 
He’s only two last month and talking like a magpie! 

NICK—No, I don’t mind- 

EGYPT—My three small men! I’ll see them to night if we 
have good luck on the road! 

XHCK —(Pointing to the boy in the cart)—And —that young 
fellow up there on the box—he’s your eldest? 

EGYPT—Yes, your honor —(She calls to him )—Come here, 
little Faro, and speak to the gorgio gentleman ! 

LITTLE FARO— (Solemnly) —No—I must hold the reins. My 
dad told me not to let them go. 

EGYPT— (Apologetic) —I’d forgotten. He must learn to 
obey .—(To the baby in her arms) —There—what do you want, fat 
Robin —(Glancing shyly at Nick) —I—I think she’s hungry! 

NICK —(Looking towards the cart nervously) —Can’t I—er, get 
her something? 

EGYPT— (Simply) —No—I’ll nurse her a bit, your honor, and 
then she’ll go to sleep .—(She sits doztm and holds the baby to her 
breast. Nick looks at her for a moment, then takes off his cap.j 

NICK—You look—so happy. 

EGYPT —(With a little sigh) —Happy, your honor? I don’t 
know. But the years teach us there’s something better than being 
happy—and I’ve got that! 

NICK— (Smiling )—And you never miss the palace with a hun¬ 
dred rooms that I was going to give you? 

EGYPT —(With a large gesture) —It’s out there, your honor— 
everywhere! The fields and the road and the evening star! 



50 


EGYPT 


NICK—And the rubies—what were they? Big—and red as 
wine and fire. 

EGYPT— (Simply) — He buys me such pretty beads sometimes— 
at the fair. 

NICK—And in these trees—do you hear the singing of the 
birds of Paradise? 

'EGYVT—(Softly)—Oh., yes—I think I hear them every time 
my children call me!— (A little pause. Then turning to him 
shyly) —But I’ve talked so much—and you—you haven’t said a 
word. It you are married, can I ask about your lady—and the 
young ones ? 

NICK— (With a shrug) —I’m not married. 

EGYPT— (Disappointed) —I’m sorry. 

NICK— (Carelessly) —Oh, I manage to get along! New York 
in the winter, and then California or Palm Beach or the yacht. I 
went to South America last year. And Europe in the early sum¬ 
mer and—then back to Newport for the tennis. Things like that. 
I try to keep from boring myself—but there’s not so very much 
to do—after all. 

EGYPT— (After a little pause) —Your honor, you know so 
much and I know so little. But even a gypsy—if she’s getting 
along and her 3^outh is over and her children have come—even a 
gypsy learns a few things before she dies. I’ve been foolish in my 
time and I’m not wise now, but what I feel, I can’t help just say¬ 
ing out—and I beg your honor’s pardon with all my heart. 

NICK—Go on—I want to hear. 

EGYPT— (Pointing) —Look at that fine elm tree—and the 
fields of corn—and even this little milkweed here, beside us.— 
(She picks it up as she speaks) —Look at everything—big or small 
—that grows upon the earth. They all come, and they all do what 
God told them to, and when it’s done—they go away. Elm tree or 
milkweed—somehow it’s just the same! 

NICK—I know. 

EGYPT— (Wistfully) —People are like that, don’t you think?* 
Some have everything—yes, all the glories of the world! And 
some have nothing but ragged clothes and tired feet and the sun 
shining in their eyes as they tramp along. But I don’t think it 
matters how much God gave or the devil took—nothing matters if 
we do our best, as we were born to do, and live hard every minute 
of the long, long day—and love the road we travel—till we die. 

NICK— (His head hozved) —I know—I know. 

EGYPT— (Looking far aivay) —You see—we have such a little 
time to be young and old, and glad and sorry—just a little time and 
then it’s all gone and we’re blown like that— (She blows the milk¬ 
weed) —out into the night again. Our children stay behind to love 
and hate and work—wandering up and down the roads of the world 
—begging and singing and fighting their way from door to door, 
and field to field, and land to land. Then their time comes and they 
die, too—they and their children’s children.— (An instant’s pause) — 
But life stays! Life never dies! And in a thousand years the 



EGYPT 


51 


moon will rise up from the east just as it’s rising now—and we 
won’t be here—but, oh ! we’ve lived deep once—1 don’t think we’ll 
care !—(As she has spoken, the big, gold moon has begun to peer 
over the top of the farthest hill, fust where the distant road has 
climbed.) 

CHAUFFEUR —(Coming up and touching his cap) —I’ve fixed 
her, sir. We’re ready to go on. 

NICK —(To Chauffeur )—I see—very well—how much do 1 
owe this man? 

CHAUFFEUR—That’s all right sir—I’ve paid him. 

NICK —(To Faro, zvho stands before him, hat in hand) —Here’s 
something for your—bother—and all that —(He hastily gives him 
a bill.) 

FARO —(Taking it eagerly) —Thanks, your honor—thank you 
very much—your honor must know what it’s like to be poor and- 

EGYPT —(Interrupting impulsively) —No, Faro—give it back— 
I can’t let him- 

FARO —(In blank amazement)—Give it back? 

NICK —(To her) —Why—is anything the matter ?—(A slight 
pause.) 

EGYPT— (Humbly) —No, your honor—nothing—nothing at all. 

NICK —(To Faro) —Don’t spend it on drink. Get a present for 
your wife .—(Looking at him oddly )—I suppose, after all, you’re the 
right sort—well, good-bye. 

FARO—Good-bye, sir —(To Egypt) —Here—pipe up and thank 
his honor for what he’s done or I’ll break your jaw! 

EGYPT —(To Nick )—God bless you, sir—God bless you, and 
bring you safe to your journey’s end. 

NICK— (Gently )—Thank you, my dear—for everything you’ve 
told me, and now- 

CHAUFFEUR —(Interrupting and touching his cap )—Beg par¬ 
don, sir—are we starting? 

NICK—Yes. 

CHAUFFEUR—Very good, sir. 

(He touches his cap again, goes to the car, cranks her up, and 
gets into his place. Nick turns again to Egypt, as if about to 
speak. She makes two embarrassed little curtsies. He pauses a 
moment, then goes to the motor and gets in.) 

nick —(To Chauffeur )—Go on .—(The man pulls the lever, the 
machine starts, and the car disappears behind the big elm tree at 
right. Egypt stands motionless, looking after it.) 

FARO —(Slapping his thigh in high good humor )—Ten dollars 
—ten dollars! And a minute ago I didn’t have the price of a glass 
of beer I Good Lord—it’s a rum world ! 

EGYPT —(Still looking down the road )—a rum world. 

F\R0—(Jumping up into the cart)—G\\t me the reins, son— 

we’re late I , 

LITTLE FARO— (Proudly) —Dad, I never let go once! 



52 


EGYPT 


DEG w nn 


FARO— (Laughing) —That’s right! You’d have caught it if 
you had!— (Turning to where Egypt stands) —Egypt! What are 
you looking at? Come along—I want my onion-stew! 

EGYPT— (Turning) —I’m coming, Faro, 

FARO— (Lifting his zvhip, ready to start) —We’ll be in camp by 
nine o’clock! Look!—the big moon’s going to light us on our 
way! —-(To Egypt, who has climbed up beside him )—All right, 
little sweetheart? —(He puts his arms about her.) 

EGYPT— (Cheerfully, as she puts little Faro between them and 
settles the baby in her lap) —All right! 

(Faro cracks his whip, the horse starts, and the cart goes 
creaking off toivards the moon and the distant hills, it soon is 
lost around the first bend of the road. Faro’s voice comes back 
faint, but good-tempered.) 

FARO— ( Singing )— 

“Oh. I was born when the world began, 

When the world ends I shall die-” 

CURTAIN. 






























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